ANALYSIS OF 'STREET IN A FRONTIER TOWN'
‘Street in a Frontier Town’, written by Aaron Copland, is a ballet based on the true story of the bandit William Bonney. The ballet follows ‘Billy’ through a number of events, including the beginning of his career in avenging his mother’s death, through to his own death, where he is captured for his crimes. ‘Billy the Kid’ begins at a moderate speed, in the key of Ab major, with a 4/4 time signature. The instrumentation used throughout the entire piece enables/assists the listener to paint a clear picture of a frontier town setting and imagine the different characters and themes. Some of these instruments scored include:
· Piccolo
· Flutes
· Oboes
· Clarinets
· Bassoons
· French Horns
· Trumpets
· Trombones
· Tuba
· Timpani
· Glockenspiel
· Xylophone
· Tin whistle - A six-holed wind instrument, similar to a recorder, called a tin whistle. These metal whistles tend to have an airy ‘impure’ high pitch sound. In my opinion, this instrument enhances the timbre of the piece, symbolizing the beginning joyful character in the play.
· Sleigh bells - A jingle bell or sleigh bell is a type of bell that produces a distinctive 'jingle' sound, especially in large numbers.
· Wood blocks - made from a single piece of wood and played with a stick, making a characteristically percussive sound. (In these days, horses were regularly used as transport. Due to this, I imagine this percussion instrument symbolizing horse hooves)
· Gourds - popular in Africa, creating a shaky sound.
· Snare drum - a widely used un-pitched percussion instrument.
· Slapstick - (also known as a whip) creating a sharp crack, slap or whipping sound that can be played loud our soft
· Cymbals
· Bass Drum
· Triangle
· Piano
· Violins 1 and 2
· Violas
· Cellos
· Double basses
Mainly light instruments are used in this score to create the timbre required for the piece. Additionally, during these times, it was more difficult to handle unpractical instruments such as a double bass or a cello. Therefore, instruments that were easily transportable (such as the tin whistle) were utilised.
Bars 1 – 8
This section begins with the piccolo playing the melody, producing a light and cheeky sound. The other instruments used in this section are the tin whistle, violin and viola. The tin whistle is played in unison with the piccolo, carrying the sound, whilst the violins and viola hold long, pedal notes on the dominant. This music arguably portrays a morning feeling, predominantly as a result of the high-pitched piccolo sound that imitates birdcalls. The piccolo ends this section in bar 8 on a pedal note of the dominant, sounding unfinished and creating anticipation for the listener.
In this section, I picture an energetic, little boy in the frontier town, skipping down the deserted streets.
Bars 9 -15
During these bars, many new characters are being introduced into the play. This is exemplified/emphasized through the use of a variety of instruments playing a motif fragment of the original melody. This fragment is heard in a sequence by the flute, first bassoon, clarinet, second bassoon, flute and, lastly, the first bassoon. The contrast of instruments brings with it shape and character, with many distinct and alternating levels of pitches, such as the high-pitched flute to the low-pitched bassoon. As this section tapers, the first bassoon and the flute play four quavers, leading into the following section at bar 16.
Bars 16 – 30
Here, the original melody is heard again in the piccolo and clarinet. The violins accompany the melody in producing a light feeling through the use of ‘pizzicato’. In the first four bars of this section, I imagine the skipping boy (introduced at the beginning of the play), happily greeting the few people who are wandering the streets, and setting up their stalls. The melody is interrupted by the upbeat to bar 20, sounded by the oboes and trumpets, with pedal notes played in the piccolo and second clarinet. In these four bars, the majestic sound created mainly by the trumpet represents a wake up call for the town. This ‘wake up’ call is classified as the second theme.
The original melody is re-introduced at bar 24, using the same instruments, with the pedal notes now sounded by the oboes and trumpets. The final “wake up” call is heard in bars 28 – 31. In comparison to bars 20 – 24, this segment incorporates flutes, giving the music a thicker texture, and therefore a stronger and fuller sound. The pedal notes here are instead heard in the piccolo and clarinets. An acciaccatura embellishment in bar 30 introduces a drunken character to the play, before focusing on this character in the following section.
All of the pedal notes heard in this section have the purpose of unifying the two themes together.
Bars 31 – 39
This section is based around the second theme, introduced in the previous section. Copland experiments with different sounds, with the horns utilizing the mute, as indicated by ‘con sordino’. This device produces a restricted and distant sound. The excitement in this part of the piece gradually builds up through the use of elements such as tempos, texture, instruments, and dynamics. The first four bars (31 – 35) make use of the bassoon, horn, viola and cello, with a very evident clashing of notes (i.e. bassoon plays an A, whilst the viola plays a Bb, creating a semi-tone clash). This creates a rough and rocky sound, relatable to the Wild West surroundings. In this section, I imagine the previously introduced drunken man, unsteadily staggering out of the bar with a beer bottle in his hand, stumbling across the streets. The texture builds conspicuously in the following four bars, through the additions of piccolo, oboe, trumpet and violins. Here, I picture another drunken man walking out of the bar, bottle in hand, struggling to stay on his feet. Therefore, the texture is built as there are now two drunk men roaming the streets of the town. The acciaccatura played by all instruments except the horn impersonates the two men bumping into each other and falling clumsily.
Bars 39 – 43
As in bars 9 – 15, Copland cleverly uses the last fragment of the previous section as the base of this transition section. Through consistently using the acciaccaturas on the off beats, Copland creates an unsure and volatile feeling, painting a picture of the two drunken men struggling to get back on their feet. The alternating instruments used bring shape to this section, passing through the strings, the flute and the piano, and then the strings once again, before leading into the next section. Diminution is apparent in these 5 bars, with the embellishment firstly heard on the last beat of the bar (bar 39), then the third beat of the bar (bar 40) and then the second beat of the bar (bar 41), giving the piece a sense of direction. Additionally, in bars 42 and 43, the decorations are heard on the offbeat, furthering the use of the syncopated factor, and preparing the listener for the next segment of the music. Moreover, the pedal notes are no longer apparent, making this section sound bare, more exposed, and taking with it the sense of openness that the pedal notes previously provided.
Bars 44 – 51
The first theme re-visits, being played by the piccolo, flute, clarinet and piano. However, it is varied through the strings playing acciaccaturas on the offbeat of each bar (2nd and 4th beats). This creates a rushed and lopsided feeling. Things are wonky (probably not the best word) in the Wild West; thus, syncopation captures this element perfectly. This section portrays people rushing around the streets, setting up their stores, and starting their day. Furthermore, the notes of the melody line are raised a third, building up the sound, and indicating that the day is underway.
Bars 52 – 56
This is another segment of the piece used as a transition into the following section. Similar to bars 9-15, a fragment from the previous section is used as the focus in this transition. Another similarity is the variety of instruments used in order to create character. The melody alternates between many different instruments, creating a flirtation effect between parts. The melody begins in the oboe, then the piccolo, oboe, clarinet and lastly the piccolo. In my mind, this symbolizes compliments being thrown around the instruments. The syncopated and embellished notes in the strings act as an offbeat metronome and are constantly heard throughout this section, portraying an uneven and comic feel.
Bars 57 – 60
The original melody returns in the strings section. It is altered through the use of shorter note values, with quavers in place of crotchets, thus sounding more pedantic in regards to the tempo. Through the intertwining of parts, the bassoons, cellos, double basses and horns produce a waltz impression, playing in groups of 3. This sub-melody creates a cross rhythm effect with the main melody that is played in groups of 4.
Bars 61 – 65
This is a variation on the second theme. Cross rhythms continue from the previous section. In comparison to the preceding section, the cellos and double basses are not scored. Instead, the piano is heard with the bassoons and horns, experimenting with different timbres whilst producing groups of 3. Pedal notes re-appear in this section, played by the violins and violas, re-introducing the feeling of openness and anticipation. The second theme is further varied through the use of a rest (beginning of bar 63) and shorter note values, creating a suspenseful feeling in the audience.
Bars 66 – 70
This section is a repeat of bars 57 – 61, with the same instruments and rhythms being used. The only difference is the pedal note heard in bar 66 and 67.
Bars 70 – 108
This section is a variation on the second theme, introducing many altered elements. From bars 70 – 74, the melody is heard by the first trumpet, with trumpets 2 and 3, trombone 3, tuba and piano creating the feeling of groups of 3 against groups of 4. At the beginning of bar 72, there is a minim rest that interrupts the groups of three, thus forming a feeling of urgency. Here, I picture a person in a rush, running down the streets panting. In this scenario, the rests imitate him stopping to take a breath.
From bars 75 – 80, the melody is passed onto the flute, clarinet, and first violins, with the sub-melody played by the first trumpets. Groups of 3 are now formed by the bassoons, horns, and strings. Furthermore, the dotted lines written by Copland signify the subdivision of cut common time into 3 + 4.
From bars 81 – 108, a syncopated melody is passed through a number of instruments, varying the character and timbre of the piece. This syncopated fragment, taken from the ____ theme is initially heard in the violins, and then the first trumpets. Groups of 3 are played by the bassoons and horns, while the flute and clarinet (instruments that previously had the melody) play the sub-melodies.
For 9 bars, the melody is played by the first violins and first trumpet, with the second violins in unison for two bars (85 and 86). The melody is then passed onto the first trombone, creating a more powerful, dominant and masculine sound, with the bassoons, horns, and strings playing in groups of 3. The first violins then play the melody for two bars, with the trombone taking over the melody at bars 90 and 91. The piano is re-introduced to the section at bar 90, joining the flutes, clarinets and bassoons that play in groups of 3, creating the cross rhythm.
The first violins play the melody from bars 96 – 107, with groups of 3 continuing to the end of this section. Diminution is apparent in bars 99 – 106, with groups of 3 played in bars 99 - 103, and groups of 2 played in bars 103 – 106. This indicates the ending of this section.
Bars 108 – 117
This section strongly contrasts from the previous sections. There is a key change to F major, mutes have been removed, the dynamic marking is fortissimo, and the texture is a lot thicker. Through the use of these elements, the music sounds grand, powerful and euphoric. This sound is further produced through the use of a cymbal on the first beat of every second bar. Rhythmic agreement is introduced, with all the instruments scored incorporating the same note values. Thus, the majestic feeling of this section is powered by the joining of these instruments. The bassoons, bass drum, cellos and basses create an anacrusis for the main melody, initially introduced leading into bar 110. Bars 112 – 115 are a repetition of bars 108 – 111. Diminution is apparent in bars 115 – 117, with an added 2/4 bar leading the piece into the following section.
Bars 118 – 119
The time signature returns to 4/4, and the speed rises to minim equals 138, engaging the audiences’ attention. Here, the note values are much shorter, consisting of semiquavers and quavers. In bar 118, the tuba plays an ostinato, moving through the third, fourth and fifth of the F major chord. In bar 120, the tonic note is heard at the start of the bar, beginning the repeated fragment. On the tuba’s offbeat, the trombones and wood blocks are heard, creating a syncopated feel to the music. The first violins are importantly the focus on the first beat of bar 118, since they are soon to play the melody in bar 120. This feature of introducing a particular instrument prior to actually obtaining the melody is common in ballets. Here, I picture a large party event, with guests greeting their friends, and meeting new people.
Bars 120 – 123
This section introduces the third theme, sounding in the first violins. The theme uses shorter note values, consisting of semiquavers and quavers, with the accompaniment playing quavers, creating a cheeky and cheerful mood. For the most part, the melody moves in a step-by-step progression, with occasional leaps to familiar notes such as the subdominant or dominant. The theme moves angularly, making the piece sound strict and rhythmical. The rhythm in the first violins is simple and repetitive, only using the range of a fifth – F to C. Furthermore, second violins add to the texture in this section by playing octaves, and help produce an open effect. I imagine the big country party (introduced in the previous section) commencing, with little kids dancing merrily, and everyone having a good time.
Bars 123 – 125
These three bars are used as a transition into the following section. As done previously, Copland uses the last beat of the third theme (as seen in bar 123) and repeats it for three bars. This fragment consists of quavers leading from the dominant (C) to the tonic (F), indicating that the piece remains in F major, despite the trumpets playing an F# accidental. Trumpets are used to fill in the gap on the second and third beat of these three bars, giving the section more character, whilst using light syncopation. While the trumpets are heard, the violins and viola hold a pedal note on the tonic, linking the two parts together.
Bars 126 – 129
In these three bars, the third theme returns again in the first violins. However, the theme, in comparison to bars 120 – 123 is modified through the addition of instruments, and syncopation. Instruments such as trumpets are added, enhancing the texture, building up the piece and making it more interesting. To form a ‘skipping’ and upbeat feeling, Copland has incorporated three interrupting quavers within the semiquaver passage. Due to this, I visualize more people joining the dancing.
Bars 129 – 134
Trombones 1 and 2 are the main focus of this section. Trombones play this melody as they have the ability to play a smooth and legato line effectively. In this section, the rhythmic feature of triplets is introduced into this score. My interpretation of this segment is a moment of civility at the party. Due to the lower pitch of the melody, I imagine a posh, refined, elderly couple dancing. This couple would majorly contrast the juvenile, thus complimenting the music.
Bars 134 – 138
Overlapping with the last bar of the trombone melody, the first violins return with a variation of the third theme in bar 134. At this point, the elderly couple are interrupted and pushed out of the spotlight by the dancing younger generation. In bar 135, the flute and clarinet is introduced as a counter melody, working with and intertwining with the violins. In bars 137 and 138, the violins make use of the dominant and tonic (C and F), signifying the end of this segment.
Bars 139 – 143
The key is now in D major. These 7 bars are based on the second theme and are part of the transition section. Similar to other sections that incorporate the second theme, the oboe and trumpet are used together, producing an effective timbre. Through the use of clashing of notes, a clear picture of the Wild West environment is painted. The second theme commonly uses fourths, and in these 7 bars, this is evident with the intervals: D to G and E to A. Through the use of this proud interval, a nationalistic sound is produced. In this section, I imagine two people starting an argument. The disagreement between the two characters is enhanced through the use of clashing notes by the oboes and trumpets.
Bars 143 – 145
The clarinet is introduced into the argument, representing another character. The quarrel is now heard between the oboes and clarinets. At bar 145, the violins signify another character joining the argument.
Bars 146 – 148
Similar to bars 39 – 41, acciaccaturas are heard on the offbeats, switching between the first violins and the clarinets. Through using these two instruments, Copland experiments with the contrast between a string instrument timbre and a woodwind instrument timbre. Bar 148 replicates the idea used in bars 42 and 43, in utilizing quavers with embellishments on the off beats. These two bars lead into the next section where the original melody returns. In this short segment, I imagine the argument building, with insults being thrown around the instruments.
Bars 149 – 152
A variation of the first theme returns in the piccolo, supported by the clarinets. The dynamic markings have dropped down to 'piano' and 'mezzo forte', allowing space for the piece to build up to a dramatic section at bar 157. For the first time in the piece, sleigh bells are introduced at bar 149. These sleigh bells create a light effect, and in my mind, represent a little boy interrupting the argument by dancing. In the piano, violins and violas, quaver acciaccatura notes are heard on the beat.
Bars 153 – 156
These bars incorporate the same idea used in bars 9 – 15. The conversation between the instruments are rhythmically syncopated, with each instrument interrupted by the next. The variety of instruments used in this segment represent many characters pushing the little boy out of the spotlight and continuing the fight. The acciaccatura embellishments proceed to the end of bar 156 in the piano, violins and viola. These embellishments lead toward bar 157, creating a screeching sound and making the audience feel agitated.
Bars 157 – 164
The melody alternates between the horns and the trumpet. These stronger instruments are allocated to play the melody, due to their ability to produce a strong sound, and overpower the violin’s high-pitched semiquavers. The texture in this section is very thick, with forte and mezzo forte dynamic markings. Light syncopation is used in the first horn, first trombone, violas and cellos, with notes tied over beats and over bar lines. Through the use of all these elements, I imagine a physical fight arising, with punches being thrown, and panicking characters trying to stop the fight. In bar 163, the semiquavers stop, and the strings start playing the melodic line. This represents composure in the room as the men get involved, stopping the fight.
MEXICAN DANCE AND FINALE:
Bars 165 – 189
During the time in which this piece was composed, there was a lot of racial prejudice and intolerance towards Mexicans. Mexicans were looked down upon and stereotyped to be different and of less importance to the ‘normal’ Wild West folk.
In this segment of the piece, a whole new section commences, with the time signature changing to 5/8, and the key signature changing to Bb major. In comparison to the previous section that portrayed intense characters disagreeing, this part of the music represents the contrasting and insouciant lifestyle of a Mexican. The focus is set outside of the party venue, with a group of Mexicans having an enjoyable time. As mentioned previously, the time signature is 5/8, creating a sense of syncopation. In my mind, this time signature impersonates Mexicans arriving in a wagon with unsteady wheels, and joining the fun. This effect of wobbliness implies that Mexicans are laid back, having no worry in the world. In this section, Mexicans are portrayed as comical through the use of sanguine up beats heard in the trumpet melodic line, supported by the bassoons and horns. The wood blocks heard on the first and third quaver beat bring out the uneven and misaligned rhythm, creating a suitable timbre that represents the jocular Mexican lifestyle. The horns as well as trumpets 2 and 3 create a metronomic effect through the use of quavers, making the time signature of 5/8 evident. The main melody heard in the first trumpet, together with the quavers heard in the second and third trumpet, paint a picture of two characters acting farcically and telling each other jokes. At bar 165, the bassoon follows the same idea used by the trumpets at bar 118. However, the fragment is altered through using notes in the sequence of: tonic, third, fifth, fourth. In bars 168, 176 and 180, a 4/8 bar is heard amid the 5/8 bars, forming certainty of metrical beats and rhythmic drive. In these 4/8 bars, the texture becomes thicker, with the gourd, piano and strings introduced. The two piano quavers (heard on the last beat of the 4/8 bars and the first beat of the 5/8 sections) link the different time signatures together effectively, forming an upbeat.
Bars 189 – 196
The focus in this section is on the first flute, supported by the second flute, oboes and clarinets. The gourd and strings continue the metronomic beat, playing repetitive quavers, and bringing out the constant change in time signature. The strings take over from the brass in playing quavers, creating a change in timbre. From bars 189 – 196, each bar continually alternates from 5/8 to 4/8, creating a strong rhythmic drive. This also gives this section a sense of urgency, in leading onto the following section.
Bars 197 – 205
Theme 4 returns. In contrast to bars 165 onwards, the melody is two bars shorter, tapering the entire section. Furthermore, after the first 4/8 bar, the strings join the section, creating a thicker texture than the original fourth theme.
Bars 205 - 210
As done previously in bars 9 – 15, Copland takes the last fragment of the previous section (two notes – E and C), and repeats this fragment to create a transition section. This repetition effect builds anticipation and curiosity in the audience. Furthermore, the time signature alternates each bar, changing from 4/8 to 5/8. This creates a feeling of uncertainty and confusion for the listener. It shows that the Mexicans sporadically get it together, however, it falls apart soon after. The texture used in this section is the same as bars 201 onwards.
Bars 211 – 213
These two bars are in 7/8, and are subdivided in groups, as indicated by the dotted lines (2 + 3 + 4 + 3 + 2). This subdivision creates a gentle swell in the rhythm and direction of the music. In this section, Copland could have used a simpler time signature (4/4) however; he uses 7/8 to create a syncopation effect. For me, this section felt uncomfortable and uneasy due to the four-quaver segment passing over the bar line.
Bars 213 – 220
The fifth theme is introduced in bar 213 – 220 in the first violins, contrasting with the previous section. The 3/4 time signature utilized by Copland gives a waltz feel to the music. The melody is legato and flowing with longer note values (minims and crotchets), sounding resonant, like chimes in a church. The melody always bases around the tonic of G major, with the dominant and tonic notes emphasized (D and G). The notes B and A are simply played as passing notes. It is evident that the pentatonic scale (G, A, B, D, E) is being used throughout this section. This pentatonic mode has been used to produce a pastoral mood.
The second violins, violas and cellos play repeated quavers, basing around the note of G. This shows that the piece is now built on the foundation of G major. Pedal notes are heard at bar 217 in the clarinets and horns, linking bars together and effectively leading into the following section.
Bars 221 – 224
Here, the oboes are introduced, playing in a mellow and mournful manner, whilst creating a conversation effect with the first violins. Pedal notes continue to be used throughout this section, with the bassoons joining the clarinets and horns. In bar 222, there is a rest heard, and this introduces the element of rests in the melody for the following section. The diminuendo apparent from bars 221 – 224, varies the dynamics, and the sound created in making the music sound more delicate and light.
Bars 225 – 235
A variation of the fifth theme returns, with the conversation between the first violins and oboes continuing. The melody is heard in the first violins with a slightly varied rhythm. Similar to the previous section, a rest is heard on the second beat of the bar, preparing the listener for the following section. Pedal notes are heard in the clarinets, bassoons and horns in bar 225, followed by the bassoons in bar 229. These pedal notes assist the piece in creating a sense of suspense, curiosity and direction. At bar 229 – 235 a new melody branches of the fifth theme and is heard in the first violins. This melody is to be played on the G string (sul G); and therefore, this segment sounds more emotional and rich.
Bars 235 – 238
A transition section is heard. The flute is introduced and the conversation is now between the flutes and oboes, with the clarinets supporting the flutes. Consisting of the chordal notes 5, 4, 3, 1 (in relation to G major) in a fragment that is repeated for 4 bars, a falling and decaying effect is formed, signifying the end of a section. Pedal notes are heard softly in the bassoon, forming a sense of direction.
Bars 239 – 254
The melody is heard in the violins, with the second violins playing an octave below the firsts, making the music sound open and more emotional with a richer texture and sound. An up beat is created in the string melody. The violas and cellos are heard on the second beat of the bar, interrupting the melody, and in turn, making it sound less legato. The oboe plays falling notes from the pentatonic scale, joining the melody together. Therefore, the woodwinds become an accompaniment for the main melody.
In ballets, it is typical for the bass to play on the first beat, with the melody following. However, in this section, the melody is heard on beat 1, with the accompaniment following on beat 2. As a result, this produces light syncopation and forces the listener to lose their sense of rhythm. In altering the melody, shorter note values are introduced into this section, as seen in the up beat to bar 245 and 253.
Bars 256 – 272
In this section, the clarinets play a melody that is previously heard by the first violins in bar 229 – 232. Copland has chosen the clarinets to feature in this section, as they have the ability to play this melody in a legato and flowing manner. This instrument is also utilized to vary the timbre. In this section, the clarinets and first violins have an agreeable conversation, smoothly passing on to one another. In my mind, this section is almost like a competition on which instrument can play at a higher standard. The music shows that the violin wins, when it enters in an overpowering manner in bars 256 – 258. This is further enhanced in bars 258 – 262, when the violin plays the melody an octave higher with a forte dynamic marking. In bars 261 – 268, the violins, flutes and clarinets replicate the falling idea used in bars 236 – 238, indicating the ending of the section, and leading into bar 264.
From bars 264 – 272 the dynamic marking is fortissimo. Evidently, the dynamic was gradually building up to this point in the music, with the piano marking in 225, the 'mezzo piano' at 229, the 'mezzo forte' at 239, and the 'forte' at 258. The texture appears to be thicker in this section, as there are no rests interrupting the melody, making the music sound more broad and dramatic. The majestic sound of this section is further enhanced with the second beat played by the low pitched tuba, the timpani, cello and double bass, and the third beat played by the trumpet, horns and trombones. As done previously, this idea forms a sense of rhythmic confusion, as the main beat leans towards the second beat of the bar. This idea also experiments with the timbre. As a whole, this segment sounds very busy, due to many instruments playing on different beats.
Bars 273 – 276
The melody is heard in the trumpets, supported by the oboes. This change in timbre works very well, as it brings back the strong and proud nationalistic sound. It also gives the audience a break from the intense and high-pitched sound of the first violins playing the melody. During this section, the piccolo, flute, and clarinet accompany the melody in playing staccato quavers. These strict rhythmical notes produce a metrical feel to the music, as well as creating a sense of anticipation and suspense.
Bars 277 – 288
Bars 277 – 288 are used as a transition segment into the following section. The texture is very thick, with the whole orchestra now playing either fortissimo or fortississimo. Copland makes the key signature clear, by using the tonic note (and chord) of G as the base of this section. This transition segment expands on a fragment derived from the first two bars of the original fifth theme. Through repeating this two bar fragment, and slightly altering the upbeat with the use of quavers at bar 282, Copland creatively gives the piece a sense of direction, intensifying the music, and leading into the climax at bar 289. Furthermore, the use of pedal notes in the bassoons, horns, trombones, tuba, timpani, cellos and basses create suspense.
At bar 277, the woodwind section incorporates the idea of falling notes, creating an effect of openness through the use of the pentatonic scale, as well as reinforcing the key of G major by using V – I on beats 2 and 3. The glockenspiel and xylophone join the woodwind section in producing the falling effect. The lower strings, trombone, tuba, and timpani play on the second beat of each bar. The lower strings play 'fortississimo' in an attempt to overpower the violins and violas. This offbeat accompaniment is followed by the bassoons and trombones playing on the last beat of the bar. In this section, repetition is the main element used in all instruments, and this makes the listener more interested and captivated in the piece.
Bars 289 – 294
This section is the climax of the entire movement, with its clashing chords and resplendent sound. At bar 289, a distinct clashing chord is heard, consisting of a thick texture, and fortissimo sforzandos in every instrument. The rests and elongated notes utilized create suspense and tension. In this section, the three clashes signify Billy shouting words of warning: “DANGER”. The held notes following this symbolizes everyone stopping in their footsteps. When the group of 5 semiquavers are heard, I imagine the people scattering, running to safety. This idea is repeated twice, with the second clash dropping to piano, indicating that everyone is silent and trying not to be seen or heard. The last two bars (293 and 294) represent two gunshots that kill Billy the Kid.
· Piccolo
· Flutes
· Oboes
· Clarinets
· Bassoons
· French Horns
· Trumpets
· Trombones
· Tuba
· Timpani
· Glockenspiel
· Xylophone
· Tin whistle - A six-holed wind instrument, similar to a recorder, called a tin whistle. These metal whistles tend to have an airy ‘impure’ high pitch sound. In my opinion, this instrument enhances the timbre of the piece, symbolizing the beginning joyful character in the play.
· Sleigh bells - A jingle bell or sleigh bell is a type of bell that produces a distinctive 'jingle' sound, especially in large numbers.
· Wood blocks - made from a single piece of wood and played with a stick, making a characteristically percussive sound. (In these days, horses were regularly used as transport. Due to this, I imagine this percussion instrument symbolizing horse hooves)
· Gourds - popular in Africa, creating a shaky sound.
· Snare drum - a widely used un-pitched percussion instrument.
· Slapstick - (also known as a whip) creating a sharp crack, slap or whipping sound that can be played loud our soft
· Cymbals
· Bass Drum
· Triangle
· Piano
· Violins 1 and 2
· Violas
· Cellos
· Double basses
Mainly light instruments are used in this score to create the timbre required for the piece. Additionally, during these times, it was more difficult to handle unpractical instruments such as a double bass or a cello. Therefore, instruments that were easily transportable (such as the tin whistle) were utilised.
Bars 1 – 8
This section begins with the piccolo playing the melody, producing a light and cheeky sound. The other instruments used in this section are the tin whistle, violin and viola. The tin whistle is played in unison with the piccolo, carrying the sound, whilst the violins and viola hold long, pedal notes on the dominant. This music arguably portrays a morning feeling, predominantly as a result of the high-pitched piccolo sound that imitates birdcalls. The piccolo ends this section in bar 8 on a pedal note of the dominant, sounding unfinished and creating anticipation for the listener.
In this section, I picture an energetic, little boy in the frontier town, skipping down the deserted streets.
Bars 9 -15
During these bars, many new characters are being introduced into the play. This is exemplified/emphasized through the use of a variety of instruments playing a motif fragment of the original melody. This fragment is heard in a sequence by the flute, first bassoon, clarinet, second bassoon, flute and, lastly, the first bassoon. The contrast of instruments brings with it shape and character, with many distinct and alternating levels of pitches, such as the high-pitched flute to the low-pitched bassoon. As this section tapers, the first bassoon and the flute play four quavers, leading into the following section at bar 16.
Bars 16 – 30
Here, the original melody is heard again in the piccolo and clarinet. The violins accompany the melody in producing a light feeling through the use of ‘pizzicato’. In the first four bars of this section, I imagine the skipping boy (introduced at the beginning of the play), happily greeting the few people who are wandering the streets, and setting up their stalls. The melody is interrupted by the upbeat to bar 20, sounded by the oboes and trumpets, with pedal notes played in the piccolo and second clarinet. In these four bars, the majestic sound created mainly by the trumpet represents a wake up call for the town. This ‘wake up’ call is classified as the second theme.
The original melody is re-introduced at bar 24, using the same instruments, with the pedal notes now sounded by the oboes and trumpets. The final “wake up” call is heard in bars 28 – 31. In comparison to bars 20 – 24, this segment incorporates flutes, giving the music a thicker texture, and therefore a stronger and fuller sound. The pedal notes here are instead heard in the piccolo and clarinets. An acciaccatura embellishment in bar 30 introduces a drunken character to the play, before focusing on this character in the following section.
All of the pedal notes heard in this section have the purpose of unifying the two themes together.
Bars 31 – 39
This section is based around the second theme, introduced in the previous section. Copland experiments with different sounds, with the horns utilizing the mute, as indicated by ‘con sordino’. This device produces a restricted and distant sound. The excitement in this part of the piece gradually builds up through the use of elements such as tempos, texture, instruments, and dynamics. The first four bars (31 – 35) make use of the bassoon, horn, viola and cello, with a very evident clashing of notes (i.e. bassoon plays an A, whilst the viola plays a Bb, creating a semi-tone clash). This creates a rough and rocky sound, relatable to the Wild West surroundings. In this section, I imagine the previously introduced drunken man, unsteadily staggering out of the bar with a beer bottle in his hand, stumbling across the streets. The texture builds conspicuously in the following four bars, through the additions of piccolo, oboe, trumpet and violins. Here, I picture another drunken man walking out of the bar, bottle in hand, struggling to stay on his feet. Therefore, the texture is built as there are now two drunk men roaming the streets of the town. The acciaccatura played by all instruments except the horn impersonates the two men bumping into each other and falling clumsily.
Bars 39 – 43
As in bars 9 – 15, Copland cleverly uses the last fragment of the previous section as the base of this transition section. Through consistently using the acciaccaturas on the off beats, Copland creates an unsure and volatile feeling, painting a picture of the two drunken men struggling to get back on their feet. The alternating instruments used bring shape to this section, passing through the strings, the flute and the piano, and then the strings once again, before leading into the next section. Diminution is apparent in these 5 bars, with the embellishment firstly heard on the last beat of the bar (bar 39), then the third beat of the bar (bar 40) and then the second beat of the bar (bar 41), giving the piece a sense of direction. Additionally, in bars 42 and 43, the decorations are heard on the offbeat, furthering the use of the syncopated factor, and preparing the listener for the next segment of the music. Moreover, the pedal notes are no longer apparent, making this section sound bare, more exposed, and taking with it the sense of openness that the pedal notes previously provided.
Bars 44 – 51
The first theme re-visits, being played by the piccolo, flute, clarinet and piano. However, it is varied through the strings playing acciaccaturas on the offbeat of each bar (2nd and 4th beats). This creates a rushed and lopsided feeling. Things are wonky (probably not the best word) in the Wild West; thus, syncopation captures this element perfectly. This section portrays people rushing around the streets, setting up their stores, and starting their day. Furthermore, the notes of the melody line are raised a third, building up the sound, and indicating that the day is underway.
Bars 52 – 56
This is another segment of the piece used as a transition into the following section. Similar to bars 9-15, a fragment from the previous section is used as the focus in this transition. Another similarity is the variety of instruments used in order to create character. The melody alternates between many different instruments, creating a flirtation effect between parts. The melody begins in the oboe, then the piccolo, oboe, clarinet and lastly the piccolo. In my mind, this symbolizes compliments being thrown around the instruments. The syncopated and embellished notes in the strings act as an offbeat metronome and are constantly heard throughout this section, portraying an uneven and comic feel.
Bars 57 – 60
The original melody returns in the strings section. It is altered through the use of shorter note values, with quavers in place of crotchets, thus sounding more pedantic in regards to the tempo. Through the intertwining of parts, the bassoons, cellos, double basses and horns produce a waltz impression, playing in groups of 3. This sub-melody creates a cross rhythm effect with the main melody that is played in groups of 4.
Bars 61 – 65
This is a variation on the second theme. Cross rhythms continue from the previous section. In comparison to the preceding section, the cellos and double basses are not scored. Instead, the piano is heard with the bassoons and horns, experimenting with different timbres whilst producing groups of 3. Pedal notes re-appear in this section, played by the violins and violas, re-introducing the feeling of openness and anticipation. The second theme is further varied through the use of a rest (beginning of bar 63) and shorter note values, creating a suspenseful feeling in the audience.
Bars 66 – 70
This section is a repeat of bars 57 – 61, with the same instruments and rhythms being used. The only difference is the pedal note heard in bar 66 and 67.
Bars 70 – 108
This section is a variation on the second theme, introducing many altered elements. From bars 70 – 74, the melody is heard by the first trumpet, with trumpets 2 and 3, trombone 3, tuba and piano creating the feeling of groups of 3 against groups of 4. At the beginning of bar 72, there is a minim rest that interrupts the groups of three, thus forming a feeling of urgency. Here, I picture a person in a rush, running down the streets panting. In this scenario, the rests imitate him stopping to take a breath.
From bars 75 – 80, the melody is passed onto the flute, clarinet, and first violins, with the sub-melody played by the first trumpets. Groups of 3 are now formed by the bassoons, horns, and strings. Furthermore, the dotted lines written by Copland signify the subdivision of cut common time into 3 + 4.
From bars 81 – 108, a syncopated melody is passed through a number of instruments, varying the character and timbre of the piece. This syncopated fragment, taken from the ____ theme is initially heard in the violins, and then the first trumpets. Groups of 3 are played by the bassoons and horns, while the flute and clarinet (instruments that previously had the melody) play the sub-melodies.
For 9 bars, the melody is played by the first violins and first trumpet, with the second violins in unison for two bars (85 and 86). The melody is then passed onto the first trombone, creating a more powerful, dominant and masculine sound, with the bassoons, horns, and strings playing in groups of 3. The first violins then play the melody for two bars, with the trombone taking over the melody at bars 90 and 91. The piano is re-introduced to the section at bar 90, joining the flutes, clarinets and bassoons that play in groups of 3, creating the cross rhythm.
The first violins play the melody from bars 96 – 107, with groups of 3 continuing to the end of this section. Diminution is apparent in bars 99 – 106, with groups of 3 played in bars 99 - 103, and groups of 2 played in bars 103 – 106. This indicates the ending of this section.
Bars 108 – 117
This section strongly contrasts from the previous sections. There is a key change to F major, mutes have been removed, the dynamic marking is fortissimo, and the texture is a lot thicker. Through the use of these elements, the music sounds grand, powerful and euphoric. This sound is further produced through the use of a cymbal on the first beat of every second bar. Rhythmic agreement is introduced, with all the instruments scored incorporating the same note values. Thus, the majestic feeling of this section is powered by the joining of these instruments. The bassoons, bass drum, cellos and basses create an anacrusis for the main melody, initially introduced leading into bar 110. Bars 112 – 115 are a repetition of bars 108 – 111. Diminution is apparent in bars 115 – 117, with an added 2/4 bar leading the piece into the following section.
Bars 118 – 119
The time signature returns to 4/4, and the speed rises to minim equals 138, engaging the audiences’ attention. Here, the note values are much shorter, consisting of semiquavers and quavers. In bar 118, the tuba plays an ostinato, moving through the third, fourth and fifth of the F major chord. In bar 120, the tonic note is heard at the start of the bar, beginning the repeated fragment. On the tuba’s offbeat, the trombones and wood blocks are heard, creating a syncopated feel to the music. The first violins are importantly the focus on the first beat of bar 118, since they are soon to play the melody in bar 120. This feature of introducing a particular instrument prior to actually obtaining the melody is common in ballets. Here, I picture a large party event, with guests greeting their friends, and meeting new people.
Bars 120 – 123
This section introduces the third theme, sounding in the first violins. The theme uses shorter note values, consisting of semiquavers and quavers, with the accompaniment playing quavers, creating a cheeky and cheerful mood. For the most part, the melody moves in a step-by-step progression, with occasional leaps to familiar notes such as the subdominant or dominant. The theme moves angularly, making the piece sound strict and rhythmical. The rhythm in the first violins is simple and repetitive, only using the range of a fifth – F to C. Furthermore, second violins add to the texture in this section by playing octaves, and help produce an open effect. I imagine the big country party (introduced in the previous section) commencing, with little kids dancing merrily, and everyone having a good time.
Bars 123 – 125
These three bars are used as a transition into the following section. As done previously, Copland uses the last beat of the third theme (as seen in bar 123) and repeats it for three bars. This fragment consists of quavers leading from the dominant (C) to the tonic (F), indicating that the piece remains in F major, despite the trumpets playing an F# accidental. Trumpets are used to fill in the gap on the second and third beat of these three bars, giving the section more character, whilst using light syncopation. While the trumpets are heard, the violins and viola hold a pedal note on the tonic, linking the two parts together.
Bars 126 – 129
In these three bars, the third theme returns again in the first violins. However, the theme, in comparison to bars 120 – 123 is modified through the addition of instruments, and syncopation. Instruments such as trumpets are added, enhancing the texture, building up the piece and making it more interesting. To form a ‘skipping’ and upbeat feeling, Copland has incorporated three interrupting quavers within the semiquaver passage. Due to this, I visualize more people joining the dancing.
Bars 129 – 134
Trombones 1 and 2 are the main focus of this section. Trombones play this melody as they have the ability to play a smooth and legato line effectively. In this section, the rhythmic feature of triplets is introduced into this score. My interpretation of this segment is a moment of civility at the party. Due to the lower pitch of the melody, I imagine a posh, refined, elderly couple dancing. This couple would majorly contrast the juvenile, thus complimenting the music.
Bars 134 – 138
Overlapping with the last bar of the trombone melody, the first violins return with a variation of the third theme in bar 134. At this point, the elderly couple are interrupted and pushed out of the spotlight by the dancing younger generation. In bar 135, the flute and clarinet is introduced as a counter melody, working with and intertwining with the violins. In bars 137 and 138, the violins make use of the dominant and tonic (C and F), signifying the end of this segment.
Bars 139 – 143
The key is now in D major. These 7 bars are based on the second theme and are part of the transition section. Similar to other sections that incorporate the second theme, the oboe and trumpet are used together, producing an effective timbre. Through the use of clashing of notes, a clear picture of the Wild West environment is painted. The second theme commonly uses fourths, and in these 7 bars, this is evident with the intervals: D to G and E to A. Through the use of this proud interval, a nationalistic sound is produced. In this section, I imagine two people starting an argument. The disagreement between the two characters is enhanced through the use of clashing notes by the oboes and trumpets.
Bars 143 – 145
The clarinet is introduced into the argument, representing another character. The quarrel is now heard between the oboes and clarinets. At bar 145, the violins signify another character joining the argument.
Bars 146 – 148
Similar to bars 39 – 41, acciaccaturas are heard on the offbeats, switching between the first violins and the clarinets. Through using these two instruments, Copland experiments with the contrast between a string instrument timbre and a woodwind instrument timbre. Bar 148 replicates the idea used in bars 42 and 43, in utilizing quavers with embellishments on the off beats. These two bars lead into the next section where the original melody returns. In this short segment, I imagine the argument building, with insults being thrown around the instruments.
Bars 149 – 152
A variation of the first theme returns in the piccolo, supported by the clarinets. The dynamic markings have dropped down to 'piano' and 'mezzo forte', allowing space for the piece to build up to a dramatic section at bar 157. For the first time in the piece, sleigh bells are introduced at bar 149. These sleigh bells create a light effect, and in my mind, represent a little boy interrupting the argument by dancing. In the piano, violins and violas, quaver acciaccatura notes are heard on the beat.
Bars 153 – 156
These bars incorporate the same idea used in bars 9 – 15. The conversation between the instruments are rhythmically syncopated, with each instrument interrupted by the next. The variety of instruments used in this segment represent many characters pushing the little boy out of the spotlight and continuing the fight. The acciaccatura embellishments proceed to the end of bar 156 in the piano, violins and viola. These embellishments lead toward bar 157, creating a screeching sound and making the audience feel agitated.
Bars 157 – 164
The melody alternates between the horns and the trumpet. These stronger instruments are allocated to play the melody, due to their ability to produce a strong sound, and overpower the violin’s high-pitched semiquavers. The texture in this section is very thick, with forte and mezzo forte dynamic markings. Light syncopation is used in the first horn, first trombone, violas and cellos, with notes tied over beats and over bar lines. Through the use of all these elements, I imagine a physical fight arising, with punches being thrown, and panicking characters trying to stop the fight. In bar 163, the semiquavers stop, and the strings start playing the melodic line. This represents composure in the room as the men get involved, stopping the fight.
MEXICAN DANCE AND FINALE:
Bars 165 – 189
During the time in which this piece was composed, there was a lot of racial prejudice and intolerance towards Mexicans. Mexicans were looked down upon and stereotyped to be different and of less importance to the ‘normal’ Wild West folk.
In this segment of the piece, a whole new section commences, with the time signature changing to 5/8, and the key signature changing to Bb major. In comparison to the previous section that portrayed intense characters disagreeing, this part of the music represents the contrasting and insouciant lifestyle of a Mexican. The focus is set outside of the party venue, with a group of Mexicans having an enjoyable time. As mentioned previously, the time signature is 5/8, creating a sense of syncopation. In my mind, this time signature impersonates Mexicans arriving in a wagon with unsteady wheels, and joining the fun. This effect of wobbliness implies that Mexicans are laid back, having no worry in the world. In this section, Mexicans are portrayed as comical through the use of sanguine up beats heard in the trumpet melodic line, supported by the bassoons and horns. The wood blocks heard on the first and third quaver beat bring out the uneven and misaligned rhythm, creating a suitable timbre that represents the jocular Mexican lifestyle. The horns as well as trumpets 2 and 3 create a metronomic effect through the use of quavers, making the time signature of 5/8 evident. The main melody heard in the first trumpet, together with the quavers heard in the second and third trumpet, paint a picture of two characters acting farcically and telling each other jokes. At bar 165, the bassoon follows the same idea used by the trumpets at bar 118. However, the fragment is altered through using notes in the sequence of: tonic, third, fifth, fourth. In bars 168, 176 and 180, a 4/8 bar is heard amid the 5/8 bars, forming certainty of metrical beats and rhythmic drive. In these 4/8 bars, the texture becomes thicker, with the gourd, piano and strings introduced. The two piano quavers (heard on the last beat of the 4/8 bars and the first beat of the 5/8 sections) link the different time signatures together effectively, forming an upbeat.
Bars 189 – 196
The focus in this section is on the first flute, supported by the second flute, oboes and clarinets. The gourd and strings continue the metronomic beat, playing repetitive quavers, and bringing out the constant change in time signature. The strings take over from the brass in playing quavers, creating a change in timbre. From bars 189 – 196, each bar continually alternates from 5/8 to 4/8, creating a strong rhythmic drive. This also gives this section a sense of urgency, in leading onto the following section.
Bars 197 – 205
Theme 4 returns. In contrast to bars 165 onwards, the melody is two bars shorter, tapering the entire section. Furthermore, after the first 4/8 bar, the strings join the section, creating a thicker texture than the original fourth theme.
Bars 205 - 210
As done previously in bars 9 – 15, Copland takes the last fragment of the previous section (two notes – E and C), and repeats this fragment to create a transition section. This repetition effect builds anticipation and curiosity in the audience. Furthermore, the time signature alternates each bar, changing from 4/8 to 5/8. This creates a feeling of uncertainty and confusion for the listener. It shows that the Mexicans sporadically get it together, however, it falls apart soon after. The texture used in this section is the same as bars 201 onwards.
Bars 211 – 213
These two bars are in 7/8, and are subdivided in groups, as indicated by the dotted lines (2 + 3 + 4 + 3 + 2). This subdivision creates a gentle swell in the rhythm and direction of the music. In this section, Copland could have used a simpler time signature (4/4) however; he uses 7/8 to create a syncopation effect. For me, this section felt uncomfortable and uneasy due to the four-quaver segment passing over the bar line.
Bars 213 – 220
The fifth theme is introduced in bar 213 – 220 in the first violins, contrasting with the previous section. The 3/4 time signature utilized by Copland gives a waltz feel to the music. The melody is legato and flowing with longer note values (minims and crotchets), sounding resonant, like chimes in a church. The melody always bases around the tonic of G major, with the dominant and tonic notes emphasized (D and G). The notes B and A are simply played as passing notes. It is evident that the pentatonic scale (G, A, B, D, E) is being used throughout this section. This pentatonic mode has been used to produce a pastoral mood.
The second violins, violas and cellos play repeated quavers, basing around the note of G. This shows that the piece is now built on the foundation of G major. Pedal notes are heard at bar 217 in the clarinets and horns, linking bars together and effectively leading into the following section.
Bars 221 – 224
Here, the oboes are introduced, playing in a mellow and mournful manner, whilst creating a conversation effect with the first violins. Pedal notes continue to be used throughout this section, with the bassoons joining the clarinets and horns. In bar 222, there is a rest heard, and this introduces the element of rests in the melody for the following section. The diminuendo apparent from bars 221 – 224, varies the dynamics, and the sound created in making the music sound more delicate and light.
Bars 225 – 235
A variation of the fifth theme returns, with the conversation between the first violins and oboes continuing. The melody is heard in the first violins with a slightly varied rhythm. Similar to the previous section, a rest is heard on the second beat of the bar, preparing the listener for the following section. Pedal notes are heard in the clarinets, bassoons and horns in bar 225, followed by the bassoons in bar 229. These pedal notes assist the piece in creating a sense of suspense, curiosity and direction. At bar 229 – 235 a new melody branches of the fifth theme and is heard in the first violins. This melody is to be played on the G string (sul G); and therefore, this segment sounds more emotional and rich.
Bars 235 – 238
A transition section is heard. The flute is introduced and the conversation is now between the flutes and oboes, with the clarinets supporting the flutes. Consisting of the chordal notes 5, 4, 3, 1 (in relation to G major) in a fragment that is repeated for 4 bars, a falling and decaying effect is formed, signifying the end of a section. Pedal notes are heard softly in the bassoon, forming a sense of direction.
Bars 239 – 254
The melody is heard in the violins, with the second violins playing an octave below the firsts, making the music sound open and more emotional with a richer texture and sound. An up beat is created in the string melody. The violas and cellos are heard on the second beat of the bar, interrupting the melody, and in turn, making it sound less legato. The oboe plays falling notes from the pentatonic scale, joining the melody together. Therefore, the woodwinds become an accompaniment for the main melody.
In ballets, it is typical for the bass to play on the first beat, with the melody following. However, in this section, the melody is heard on beat 1, with the accompaniment following on beat 2. As a result, this produces light syncopation and forces the listener to lose their sense of rhythm. In altering the melody, shorter note values are introduced into this section, as seen in the up beat to bar 245 and 253.
Bars 256 – 272
In this section, the clarinets play a melody that is previously heard by the first violins in bar 229 – 232. Copland has chosen the clarinets to feature in this section, as they have the ability to play this melody in a legato and flowing manner. This instrument is also utilized to vary the timbre. In this section, the clarinets and first violins have an agreeable conversation, smoothly passing on to one another. In my mind, this section is almost like a competition on which instrument can play at a higher standard. The music shows that the violin wins, when it enters in an overpowering manner in bars 256 – 258. This is further enhanced in bars 258 – 262, when the violin plays the melody an octave higher with a forte dynamic marking. In bars 261 – 268, the violins, flutes and clarinets replicate the falling idea used in bars 236 – 238, indicating the ending of the section, and leading into bar 264.
From bars 264 – 272 the dynamic marking is fortissimo. Evidently, the dynamic was gradually building up to this point in the music, with the piano marking in 225, the 'mezzo piano' at 229, the 'mezzo forte' at 239, and the 'forte' at 258. The texture appears to be thicker in this section, as there are no rests interrupting the melody, making the music sound more broad and dramatic. The majestic sound of this section is further enhanced with the second beat played by the low pitched tuba, the timpani, cello and double bass, and the third beat played by the trumpet, horns and trombones. As done previously, this idea forms a sense of rhythmic confusion, as the main beat leans towards the second beat of the bar. This idea also experiments with the timbre. As a whole, this segment sounds very busy, due to many instruments playing on different beats.
Bars 273 – 276
The melody is heard in the trumpets, supported by the oboes. This change in timbre works very well, as it brings back the strong and proud nationalistic sound. It also gives the audience a break from the intense and high-pitched sound of the first violins playing the melody. During this section, the piccolo, flute, and clarinet accompany the melody in playing staccato quavers. These strict rhythmical notes produce a metrical feel to the music, as well as creating a sense of anticipation and suspense.
Bars 277 – 288
Bars 277 – 288 are used as a transition segment into the following section. The texture is very thick, with the whole orchestra now playing either fortissimo or fortississimo. Copland makes the key signature clear, by using the tonic note (and chord) of G as the base of this section. This transition segment expands on a fragment derived from the first two bars of the original fifth theme. Through repeating this two bar fragment, and slightly altering the upbeat with the use of quavers at bar 282, Copland creatively gives the piece a sense of direction, intensifying the music, and leading into the climax at bar 289. Furthermore, the use of pedal notes in the bassoons, horns, trombones, tuba, timpani, cellos and basses create suspense.
At bar 277, the woodwind section incorporates the idea of falling notes, creating an effect of openness through the use of the pentatonic scale, as well as reinforcing the key of G major by using V – I on beats 2 and 3. The glockenspiel and xylophone join the woodwind section in producing the falling effect. The lower strings, trombone, tuba, and timpani play on the second beat of each bar. The lower strings play 'fortississimo' in an attempt to overpower the violins and violas. This offbeat accompaniment is followed by the bassoons and trombones playing on the last beat of the bar. In this section, repetition is the main element used in all instruments, and this makes the listener more interested and captivated in the piece.
Bars 289 – 294
This section is the climax of the entire movement, with its clashing chords and resplendent sound. At bar 289, a distinct clashing chord is heard, consisting of a thick texture, and fortissimo sforzandos in every instrument. The rests and elongated notes utilized create suspense and tension. In this section, the three clashes signify Billy shouting words of warning: “DANGER”. The held notes following this symbolizes everyone stopping in their footsteps. When the group of 5 semiquavers are heard, I imagine the people scattering, running to safety. This idea is repeated twice, with the second clash dropping to piano, indicating that everyone is silent and trying not to be seen or heard. The last two bars (293 and 294) represent two gunshots that kill Billy the Kid.