Musical and performance-related evolution in JanSwafford's "From the Shadow of the Mountain"

Item Type text; Dissertation-Reproduction (electronic)

Authors Cole, David Christopher

Publisher The University of Arizona.

Rights Copyright © is held by the author. Digital access to this materialis made possible by the University Libraries, University of Arizona.Further transmission, reproduction or presentation (such aspublic display or performance) of protected items is prohibitedexcept with permission of the author.

Download date 04/08/2021 15:26:12

Link to Item http://hdl.handle.net/10150/282906

NOTE TO USERS

This reproduction is the best copy available.

UMI

MUSICAL AND PERFORMANCE-RELATED EVOLUTION IN JAN SWAFFORD'S FROM THE SHADOW OF THE MOUNTAIN

By

David Christopher Cole

Copyright © David Christopher Cole 2005

A Document Submitted to the Faculty of the

SCHOOL OF MUSIC AND DANCE

In Partial Fulfillment of the Requirements For the Degree of

DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC

In the Graduate College

THE UNIVERSITY OF ARIZONA

2 0 0 5

UMI Number: 3205460

Copyright 2005 by

Cole, David Christopher

All rights reserved.

INFORMATION TO USERS

The quality of this reproduction is dependent upon the quality of the copy

submitted. Broken or indistinct print, colored or poor quality illustrations and

photographs, print bleed-through, substandard margins, and improper

alignment can adversely affect reproduction.

In the unlikely event that the author did not send a complete manuscript

and there are missing pages, these will be noted. Also, if unauthorized

copyright material had to be removed, a note will indicate the deletion.

UMI UMI Microform 3205460

Copyright 2006 by ProQuest Information and Learning Company.

All rights reserved. This microform edition is protected against

unauthorized copying under Title 17, United States Code.

ProQuest Information and Learning Company 300 North Zeeb Road

P.O. Box 1346 Ann Arbor, Ml 48106-1346

2

THE UNIVERSITY OF ARIZONA ®

GRADUATE COLLEGE

As members of the Final Examination Committee, we certify that we have read the

document prepared by David Christopher Cole

entitled Musical and Performance-Related Evolution in Jan Swafford's

"From the Shadow of the Mountain"

and recommend that it be accepted as fulfilling the requirements for the Degree of

Doctor of Musical Arts

Date

Date

Date

Date

Final approval and acceptance of this document is contingent upon the candidate's

submission of the final copy of the document to the Graduate College.'I hereby certify

-that I have read this document prepared under my direction and recommend that it be

accepted as fulfilling the requirement.

Date

3

STATEMENT BY AUTHOR

This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under the rules of the Library.

Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder.

SIGNED:^

4

ACKNOWLEDGEMENTS

This document would not be possible without the help and support of a number of dedicated and supportive individuals:

Dr. Thomas Cockrell, for his critical eye and ear, his endless supply of patience and for his energy and enthusiasm in support of this project.

Dr. Jan Swafford, for hours of convivial conversation and discussion of his music and for the countless invaluable suggestions for interpretation of his work.

The other members of my committee. Professor Gregg Hanson, Dr. Bruce Chamberlain, Professor Mark Rush and Dr. Donald Hamann, for their time, assistance and expertise.

The string section of the University of Arizona Symphony Orchestra for their passion and artistry in bringing this work to life.

My mother, Margaret Cole and my late father, Lt. Col. John W. Cole, for their unfailing and unquestioning love and support of their "artistic" child.

DEDICATION

This document is dedicated to my mother, Margaret McGuinness Cole and to the memory

of my father, Lt. Col. John Waitman Cole (1916-2001).

6

TABLE OF CONTENTS

ABSTRACT 7

L INTRODUCTION 8

II. FIRST EVOLUTIONARY PROCESS: COMPOSITIONAL EVOLUTION 11

Part 1: Pitch collections 11

Part 2: Hymn tunes and the Sacred Harp influence: "Rock of Ages" and "Nearer, My God, To Thee" 17

III. SECOND EVOLUTIONARY PROCESS: REHEARSAL AND PERFORMANCE CHANGES 23

Part 1: Changes to the first version of From the Shadow of the Mountain 23

Part 2: Changes to the second version of From the Shadow of the Mountain 25

IV. CONCLUSION 32

APPENDIX A: SCORE EXCERPTS REFERRED TO IN TEXT OF DOCUMENT 33

APPENDIX B: FROM THE SHADOW OF THE MOUNTAIN: CHANGES TO THE SCORE BETWEEN VERSIONS 1 AND 2 108

REFERENCES 123

This study explores two evolutionary principles related to Jan Swafford's string

orchestra work From the Shadow of the Mountain: the musical evolution of the

composition, including its use of octatonic pitch collections and the quotation and

transformation of two hymn tunes, and the performance-related evolution of the work

from its original version to its final version. The study documents changes made to the

score in the course of rehearsals for performances of the second version along with

suggestions from composer and conductor in creating the third version of the score.

8

I. INTRODUCTION

Merriam-Webster defines evolution as "1) a process of change in a certain

direction; and 2) a process of continuous change from a lower, simpler or worse to a

higher, more complex or better state."' In the context of preparing a series of

performances of Jan Swafford's From the Shadow of the Mountain, I explored and

documented two different evolutionary processes that were taking place, both of which

are of vital importance to the work of a conductor: the compositional development within

the work involving the various pitch collections and the quotation of hymn tunes, and the

evolution of the composer's ideas and expression as a result of hearing his work in

rehearsal and in live performance. This latter process was also influenced by my own role

in the rehearsal and performance process and by my background as a conductor and

string player.

Jan Swafford is a prolific composer of works in many musical genres, from

orchestral and chamber music to music for film and theater. Dr. Swafford holds degrees

in music from Harvard and Yale; his teachers have included Jacob Druckman, Earl Kim,

and Betsy Jolas. From 1988 to 1989 he was a Mellon Faculty Fellow at Harvard, and

since then has taught writing at Tufts University. From 2001 to 2003 he was a visiting

professor at the University of Arizona School of Music and Dance.

Swafford's music has been played ciround the country and around the world by

numerous ensembles including Boston's Musica Viva, the Pro Arte Chamber Orchestra,

New York's American Composers Orchestra and the symphony orchestras of

' Merriam-Webster's Collegiate Dictionary, Tenth Edition (Springfield: Merriam-Webster Incorporated, 1993)402.

9

Indianapolis, St. Louis, Harrisburg, Springfield, Jacksonville, Chattanooga, and the Dutch

Radio. The orchestral work After Spring Rain won the Indiana State University

Composition Contest in 1983, and the following year his string duo Labyrinths won the

New England Composers Competition. His piano fantasy Music Like Steel and Like Fire

was a Grand Prize co-winner in the Delius Composition Contest. His work appears on a

CRI disc and is published by Peer-Southern.

An active journalist and writer. Dr. Swafford's work has appeared in many

prominent musical publications and he has written program notes for the Boston,

Chicago, and San Francisco Symphonies and for Sony Classical Recordings. He has been

a featured commentator on NPR's Performance Today. His writings on music include The

Vintage Guide to Classical Music and the biographies Charles Ives: A Life with Music

published by Norton, and Johannes Brahms: A Biography published by Knopf.

From the Shadow of the Mountain was written for the first performance of the

Chamber Orchestra of Tennessee, conducted by Robert Cormier in 2001. In writing From

the Shadow of the Mountain Swafford recalled that he was not asked to create a work that

was explicitly Southern. He found the seed of the work in a small piano piece he had

written for a friend's birthday celebration several years before, and he considered the

ending of this work too good to be used solely for an occasional keyboard piece. As he

contemplated the musical idea he had created, he noticed that his melodic line (E-E-D-D-

C-C-A-A) included the same notes as the hymn "Nearer, My God, To Thee", a hymn

from the American Protestant tradition which Swafford knew from his Southern Baptist

upbringing and from Charles Ives' use of it in the Fourth Symphony (1901-1913). With

10

this connection, Swafford began to make other musical associations with his childhood in

Chattanooga: hymns, mountains, fiddle tunes, the blues and other kinds of vernacular

music, and, in his words, he "was off and running."^

^ Jan Swafford, electronic letter to author, "Re: a few questions..." 7 December 2002

11

11. FIRST EVOLUTIONARY PROCESS: COMPOSITIONAL EVOLUTION

Part 1: Pitch collections

The first evolutionary process is the musical unfolding of the composition itself,

which takes place on several levels. Through each section of the piece different scales or

pitch collections are employed, finally reaching a resting point in C major. The composer

describes From the Shadow of the Mountain as moving from the darker textures of the

opening of the piece through a number of brighter scales and modes to the final key of C

major.

The dark opening employs two of the three possible octatonic pitch collections as

its musical material, and the first forty-two bars of the piece are a study in the exploration

and interaction of these two collections. An octatonic scale or pitch collection is a scale

of eight notes with an interval arrangement of alternating whole and half steps. First

found as a bass line in Liszt's symphonic poem Ce qu'on entend sur la montagne (1849)

and later identified in Rimsky-Korsakov's symphonic poem Sadko, Op. 5 (1867),

octatonic collections feature prominently in the music of Scriabin, Debussy, Stravinsky,

Kodaly, Bartok and other composers. Messiaen describes them as 'modes of limited

transposition" in his Techniques of my Musical Language.

Within the context of the twelve chromatic tones, there are only three possible

octatonic collections. The tonal associations of octatonic collections are often ambiguous,

with no particular half-step interval serving as a leading tone to a definite tonic. Each

octatonic collection contains numerous tonal implications, containing as it does four

different minor triads, four major triads, four dominant seventh sonorities and four

diminished seventh sonorities. In conversation with the composer, Swafford remarked

that the tonal implications of the octatonic collections within the first forty-two bars were

less important to him than the sound colors of each scale.^ He also indicated that he

employs these chords in a tonal or partially-tonal context."^

The first forty-two bars of the piece are structured as an exploration and

interaction of these two octatonic pitch collections. The first collection consists of the

pitches C - D - E-flat - F - F-sharp - G-sharp - A - B (and their enharmonic

equivalents), which I will designate as OPC (to signify Octatonic Pitch Collection) I,

introduced in the opening eight bars of the piece (Appendix D, Figure 1).

OPC II, consisting of the pitches C - D-flat - E-flat - E - F-sharp - G - A - B-

flat, is prefigured in measure 7 (the G and B-flat harmonics in the first divisi part in

Violin I) and then introduced fully in measure 9 in the violas, in parallel motion with

OPC I in the second violins (Appendix D, Figure 2).

Swafford employs these two octatonic pitch collections (OPC I and II) in a variety

of ways. Various sections of these first forty-two bars explore the possibilities of one

collection alone, such as his use of OPC I at the opening of the work and later on at

measures 34 to 41 (Appendix D, Figure 3). OPC 11 is also explored on its own, notably at

measures 26 to 33 (Appendix D, Figure 4). These two octatonic pitch collections coexist

and interact within the same texture. We can see the layering of these two pitch

collections in measures 11 and 12, where the cellos play OPC I, the tutti first violins and

the second violins sound pitches from OPC II, and the last stand of first violins and the

^ Jan Swafford, Interview with author, 12 October 2002, Tucson, Arizona. Ibid.

basses perform the four notes in common between the two pitch collections (Appendix D,

Figure 5), which will be seen as another important element within these first forty-two

measures.

In one particular section, Swafford explores the harmonic possibilities inherent in

each of the two collections. At measure 14 (Appendix D, Figure 6), violas and cellos are

harmonized in parallel first inversion major sonorities for the first seven notes of the bar;

with the last eighth note of measure 14 and for the first six notes of measure 15 (and now

including the solo violin 1), the seven sonorities are minor.

In addition to the examples of the use of each of these octatonic pitch collections

both singularly and together cited above, the first forty-two measures of the work display

notable examples of the four pitches common to both collections: C, E-flat, F-sharp and

A (Appendix D, Figure 7). Throughout the work, these pitches appear prominently in a

variety of guises, including chord roots, unisons and octaves, and prominent single notes

within the texture. These four notes serve as one more structural element within the first

forty-two bars. The opening eight bars of the work (Appendix D, Figure 8) display

numerous examples of the importance of these four pitches. In measure 4 with the first

entrance in the double basses, C is the lowest pitch of the texture. At the end of the same

measure, E-flat emerges in Violin 1 as the highest pitch in the texture (also important for

its agogic emphasis). This melodic motive (derived from "Nearer, My God, To Thee" as

will be demonstrated later) is imitated in measure 5 in Violin 2 on G-flat, yet another of

the four common pitches. Measure 6 features a further imitative entrance, this time

beginning on A in Violin 1, completing a compact emphasis of these four common

pitches in the initial moments of the work. Another intriguing example of the prominence

of the four common pitches between OPC I and II is contained within the first ten

measures of the bass part. Beginning with the solo bass in measure 4 and continuing

through measure 13, the only pitches in the double bass part are the four pitches common

to both octatonic collections: C, E-flat, F-sharp, and A.

As the piece continues, the four common pitches appear prominently in other

parts of other textures, highlighting the intersection of the two octatonic collections. At

measure 13, the E in violins and violas is the only pitch in the texture that is not one of

the four shared pitches (Appendix D, Figure 9). In measure 14 the highest and lowest

pitches in the texture (viola solo and lower cello) are composed entirely of the four

shared pitches.

One of the most prominent functional uses of the four shared pitches appears in

measure 33 (Appendix D, Figure 10). The section of this piece preceding this measure

consists of pitches entirely from OPC II. At measure 33, the two final eighth notes in all

parts are drawn from the four common pitches, and the following bar begins a new

section of the piece with pitches from OPC I. These four pitches serve as a link from the

pure exposition of one pitch collection to the pure exposition of the other, almost in the

manner of a common-chord modulation.

As the dirge-like section at measure 34 commences (Appendix D, Figure 11), we

see a similar prominence of the four common pitches as was displayed at the opening of

the work: in measure 34, pizzicato double basses begin with F-sharp (the lowest note in

the texture), first violins enter on a high A in measure 35 as the highest note of the

15

texture, and second violins and violas begin an important melodic line at the end of

measure 35 on the notes C and E-flat respectively.

In addition to these functional appearances of the four common pitches as

prominent parts of the texture Swafford occasionally treats these pitches as chord roots.

In measure 26 (Appendix D, Figure 12), this new section begins with a first inversion C

major sonority, and is succeeded in measure 27 by four prominent chords in the cellos

and basses consisting of root position major triads, with consecutive sonorities of E-flat

major, G-flat major, A major and C major. At the conclusion of the opening section, the

orchestra reaches a moment of repose on octave F-sharps in measure 42 (Appendix D,

Figure 13), rounding off the section with a prominent emphasis on one of the four shared

pitches. It is interesting to note that this point of repose on F-sharp is at the furthest

possible harmonic distance from the final harmonic goal of C major

For the remainder of the work, different pitch collections are introduced, at a

more rapid pace and in a less exploratory fashion than in the first forty-two bars, giving

the piece a sense of greater harmonic motion as it evolves towards the final harmonic

goal of C major. A few examples will illustrate the different treatment of these

subsequent pitch collections. The misterioso section commencing at m. 43 (Appendix D,

Figure 14) begins with only five pitches, and eventually expands to seven (C -D -E-flat -

F -sharp - G - A-flat -B) in measure 44, but not in the regular patterning of the octatonic

collections. With this section, the texture of the piece begins to expand; especially

notable is the four-octave separation of the high first violins from the basses at m. 46.

16

Letter G (m. 53) (Appendix D, Figure 15) begins a section emphasizing the whole

step from D to E; the pitch collection here is C-sharp - D - E - F - G-sharp - B-flat. This

whole step prominence continues at m. 57, (Appendix D, Figure 16) where the pitch

collection changes to C - D-flat - E-flat - F - G-flat - A - B-flat, accompanied by

changes of tempo, character and texture.

From m. 81, (Appendix D, Figure 17) at the beginning of the fiddle tune, another

new pitch collection is introduced gradually: E-flat, B-flat, C, A, G-flat, A-flat, F, and

finally D-flat in m. 90. While centered around E-flat (and later D), the pitch collection

used here tinges the tune with a slightly different ethnicity - colleagues of the composer

have described it as "A good old-fashioned southern Appalachian Klezmer fiddle tune"

and "a hora hoedown."^

The section of the work from the end of the fiddle tune at letter R is a fascinating

transformation into the final hymn in C major. While this section beginning at measure

135 (Appendix D, Figure 18) contains all the notes of C major, the key is still somewhat

hazy, both because of the quintal sonorities in the cellos and basses and the harmonics (a

very Ivesian touch) that both recall the beginning and serve as an intrusion into the

prevailing texture - a final challenge to the serenity of the harmonic goal. By measure

143 (Appendix D, Figure 19), these disruptions have disappeared, and the music hovers

between F major and C major (m. 146) but C major asserts itself at m. 151 (Appendix D,

Figure 20), and the compositional goal is achieved. From the complexity of the opening

octatonic collections, an evolution to a final harmonic simplicity has been achieved, but.

^ Jan Swafford, interview by author, 10 January 2003, Tucson Arizona

17

as shown in the following section of this study, there are other musical evolutionary

processes taking place in From the Shadow of the Mountain.

Part 2: Hymn tunes and the Sacred Harp influence: "Rock of Ages" and "Nearer, My

God, To Thee"

Through the course of the work, part of the American style of its texture is

achieved by references to different elements of American musical vernacular, such as the

fiddle tune cited previously. Dr. Swafford has described From the Shadow of the

Mountain as his most Ivesian work, and the use of hymns and other American elements is

the most obvious example of the influence of Ives' music on the composition.

Another important stylistic influence upon From the Shadow of the Mountain is

the musical style and performance traditions of Sacred Harp singing. The style of music

eventually known as Sacred Harp can be traced to the publication of The Easy Instructor,

a collection of sacred and patriotic music compiled by William Little and William Smith

and published in 1802. The book introduced a pedagogical system of notation called the

"shape-note" method, where each pitch was assigned a different shape (diamond, square,

rectangle, etc.) to develop the singer's aural memory. The term "Sacred Harp" was

applied to this style after 1844 following the publication of an influential collection titled

The Sacred Harp.

After the first rehearsal of From the Shadow of the Mountain, the conductor of the

first performance commented to the composer about the sounds of the Sacred Harp style

that he heard in the work. Swafford explicitly marks one section of the work "quasi

Sacred Harp" and other stylistic features of the Sacred Harp tradition are found

18

throughout the score. One of the prominent features of this style is the "open" harmony

(octaves and perfect fourths and fifths) at cadential points in the original hymns. The

Sacred Harp melody "Windham" with words by Isaac Watts and a tune by Daniel Read

(Appendix D, Figure 21) displays these characteristics. The open harmonies (root-

position dyads) are apparent both at the first measure and the final chord as well as in

measures 4, 8 and 12.

Originally shape-note singing was part of the New England tradition of singing

schools, formal classes with instruction in reading notation as well as vocal production.

As the singing school tradition moved into more rural areas, especially in the

Southeastern United States, the pedagogical aspects of shape-note singing declined or

disappeared, and a performance practice emerged based instead on oral tradition. Folk

melodies were substituted for written hymns, and written melodies were subjected to the

metamorphosis of oral tradition. Throughout the nineteenth century, large singing

festivals were held throughout the Appalachian region with hundreds of people

participating, beginning a tradition which continues to this day. The musical emphasis of

these "sings" is now centered more on the fervor of participation rather than the

refinements of vocal performance. Swafford incorporates the unvarnished vigor of this

performance tradition into the texture of From the Shadow of the Mountain as well as the

musical features of open harmonies characteristic of both the notated and oral traditions

of the style. This trait can be seen in the Swafford work at the section marked "quasi

sacred harp" at Measures 94-100 (Appendix D, Figure 22).

19

In tracing the work's musical evolution, the other important musical materials in

this process are the two Protestant hymns that Swafford quotes. The evolution of these

two hymns is always in the context of the prevailing pitch collection; in other words,

when we hear these tunes or their fragments, the melodic lines of the original hymns are

reshaped by these pitch collections. One hymn, "Rock of Ages" is treated largely as a

compositional whole, appearing largely in more easily recognizable contexts. The other

hymn, "Nearer, My God, To Thee" is treated as a source of much of the work's musical

material, beginning with its most characteristic intervals. Throughout the piece, this latter

hymn becomes more and more recognizable, and appears at the end of the work in C

major as the final compositional goal of the piece.

"Rock of Ages" (Appendix D, Figure 23) is treated within the context of the

various pitch collections, but it is never presented in the same kind of completely tonal

context that is given to "Nearer, My God, To Thee." Unlike the seeding and

fragmentation treatment given to "Nearer, My God, To Thee," this hymn appears in

recognizable full phrases, albeit varied by the context of the prevailing pitch collection at

each appearance.

"Rock of Ages" is introduced into the texture at measure 17 in the solo cello

(Appendix D, Figure 24); significantly, this section is the first time that one instrumental

part includes pitches from both OPC I and OPC II. Once again, while the hymn is still

recognizable, it is heard within the context of the two octatonic pitch classes. The hymn

is presented again at measure 26, harmonized in three parts in the violas (Appendix D,

Figure 25).

20

"Rock of Ages" appears in three other contexts. It is introduced as a dirge-Hke

lament in second violins and violas at measure 35 (Appendix D, Figure 26), preceding

one of the canonic treatments of "Nearer, My God, To Thee." In this instance, the

coloration of OPC II creates a very blues-tinged context for the hymn. It also occurs

within the fiddle-tune that precedes the coda of the work (Appendix D, Figure 27).

Harmonized within the pitch collection of the fiddle tune, the passage is marked "quasi

sacred harp," a reference to one of the other pervading structural elements of the work

(discussed above). Finally, the violas have a brief variant of the tune at measure 122 with

the fiddle tune accompaniment underneath it (Appendix D, Figure 28).

"Nearer, My God, To Thee" (Appendix D, Figure 29) is also given in fragmentary

form throughout the piece, but evolves in a different and more complete fashion than

"Rock of Ages." The fullest and most recognizable version of "Nearer, My God, To

Thee" is heard only at the end of the work, beginning at measure 151 (Appendix D,

Figure 30). Yet this is not merely a random slice of Americana thrown in to round off the

work in a tonal fashion: the melodic contour of the hymn provides a substantial amount

of melodic material for the composition, refracted through the prism of different pitch

collections throughout the work. In treating this hymn in this manner, Swafford gives the

piece a further unifying element and an ultimate melodic as well as harmonic goal.

As early as measure 4 (Appendix D, Figure 31), Swafford introduces melodic

motives that derive from "Nearer, My God, To Thee." The idea that begins in the first

violins in measure 4 and is imitated in the second violins in measure 5 and again in the

first violins at measure 6 consists of a descending minor second and a descending minor

third. The composer has indicated this is a melodic derivation of part of the hymn; the

descending major second of the hymn is skewed to a minor second by the octatonic pitch

collection.^ This motive grows and appears in many guises throughout the work, altered

in terms of the pitch collection prevalent at the time. The sixteenth notes in the violas at

measure 6 comprise one of the first variants of it.

As other variants are introduced, this seeded motive is used as both principal

melodic material and accompanying figuration. At measure 22 (Appendix D, Figure 32),

the two violin parts play a variant in canon (the minor third here an augmented second);

the motive has now evolved into a longer and more recognizable variant of the hymn. At

the same time in the violas and solo cello, the smaller variant is treated as an ostinato

figure which rises in a sequence of minor thirds. Another canonic version of this idea

appears at measure 39 (Appendix D, Figure 33), this time with the opening three intervals

of the hymn presented in their tonal version in the two violin parts, harmonized by the

violas a minor third below the second violins.

Other variants of this descending motive appear throughout the work. Two

notable examples include measures 46 to 51 (Appendix D, Figure 34), where the idea

appears in an octatonic form at the extremes of the texture: it can be seen in both the

high-lying violin parts as well as in the cellos and basses four octaves below. One of the

most extended evolutions of the motive appears at measure 67 (Appendix D, Figure 35).

The solo viola plays a meditative, rhapsodic version of the hymn (still in the octatonic

^ Jan Swafford, Interview by author, 17 January 2003, Tucson, Arizona.

22

context), this time with the addition of part of the hymn's second phrase (measure 70 and

74) characterized by the rising interval of a perfect fourth.

The coda of the work introduces a tonal version of the hymn at measure 138

(Appendix D, Figure 36), with the descending figure in the upper cello beginning with

only a rocking back and forth between E and D, and then blossoming into the pure tonal

motive in C major at measure 140-141 (Appendix D, Figure 37). The hymn finally

appears in its full traditional, tonal form in m. 151 (Appendix D, Figure 38), where both

tonal and motivic completion coincide. The composer has indicated that many of his

works are based upon the idea of material that is developed throughout the work, but only

appears in its traditional guise at the end, to provide a sense of arrival and a convincing

conclusion to the work.

23

III. SECOND EVOLUTIONARY PROCESS: REHEARSAL AND PERFORMANCE

CHANGES

Part I: Changes to the first version of From the Shadow of the Mountain

The final portion of this study documents the changes between the first version of

From the Shadow of the Mountain and the subsequent revisions of the work following the

series of performances at the University of Arizona. The strings of the University of

Arizona Symphony Orchestra gave the first performance of the second version of From

the Shadow of the Mountain under my direction on 8 February 2003 at Crowder Hall on

the University of Arizona campus in Tucson. The same forces presented the work on 9

February, 2003 at Highland High School in Gilbert, Arizona and again in Crowder Hall

on 1 and 2 March 2003.1 subsequently presented From the Shadow of the Mountain at

the University of Arizona on 12 March 2003 as part of my doctoral lecture recital.

This study documents two different sets of performance-related changes to the

work. The first of these is between the first version of From the Shadow of the Mountain

and the second version subsequently performed under my direction. The second set

involves the alterations to the score of the second version made during the rehearsal and

performance process at the University of Arizona and the eventual incorporation of these

changes into the third version of the work. In this latter evolutionary process, some

changes were instituted by the composer; others were made at my suggestion.

The practical changes made after the first performance in Tennessee are copious,

ranging from numerous bowing and articulation changes to the inclusion of more

expression markings, alterations in dynamics for balance purposes and more detailed

24

instructions to the performers and conductor. In total, over 300 different changes were

made by the composer between the first and second versions. These changes fall into two

categories: changes made as practical performing considerations following the first

performance, and changes implemented because of the composer's rethinking of his own

musical ideas. A complete listing of all the changes between the first and second versions

of From the Shadow of the Mountain is included as part of Appendix D beginning on

page 106.

I note here some of the most structurally important changes. At measure 57,

Swafford indicates "Broadly, poco meno mosso," indicating a slower tempo (Appendix

D, Figure 39). Yet the previous section (beginning at m. 43) indicates quarter note=69,

while measure 57 is marked quarter note=72, slightly faster than before. When this

contradiction was pointed out to the composer, he indicated that the metronome mark was

the correct tempo relationship, and the "meno mosso" marking was left over from his

earlier thoughts on the piece.

Of the changes made because of the composer's reworking of his musical

thoughts, two examples are important. At measures 55 and 56, the composer wished to

achieve a greater building of texture into the new section beginning at measure 57 (letter

H). As a result, the second violin figure is altered and an entirely new part is added in the

cellos in the second version (Appendix D, Figure 40). The composer has indicated for the

subsequent third version of From the Shadow of the Mountain, he will probably add

basses to this texture as well.^

^ Jan Swafford, Interview by author, 7 March 2003.

Some portions of the work have been altered for the purposes of musical time: to

establish a texture before introducing a melody and to give a melodic line a larger span

and a different shape. Swafford has added a bar at the viola solo (Appendix D, Figure 41)

to give time to establish the new texture before the viola's entrance. Likewise, the

composer felt that the appearance of "Rock of Ages" at the end of the fiddle tune

(Appendix D, Figure 42) needed an additional measure to complete that particular

musical thought. The fiddle tune section of the work provides an illustrative example of

these types of changes. At measure 126 (first version 124), the more difficult string

crossing of the original version has been replaced with a simpler version of the same

effect (Appendix D, Figure 43). At the very end of the work (Appendix D, Figure 44),

Swafford has rescored and reharmonized "Nearer, My God, To Thee." The composer

considered his original harmonization to be "too fussy," and revised the texture to be

simpler.^

Part 2: Changes to the second version of From the Shadow of the Mountain

Finally, it is important for a conductor to recognize that in presenting a new work,

his/her performance may only be one more step towards the ultimate version of the piece,

and in the case of From the Shadow of the Mountain, this is certainly true. In my

discussions about the work with the composer following the performances on 1 and 2

March 2003, he has indicated particular portions of the work he would like to change

(beyond merely correcting the occasional typographical error), and in my role as

conductor I have offered some suggestions for practical performance-related alterations.

^ Jan Swafford, Interview by author, 10 January 2003, Tucson, Arizona.

In interviewing the composer before my first rehearsal of From the Shadow of the

Mountain, Swafford indicated that the cello solo beginning at measure 16 and continuing

through measure 21 should stand out against the rising and falling dynamics of the lower

strings.^ Even for the first rehearsal, Swafford suggested changing the dynamics in the

solo from m/to/at the beginning of measure 17, and toj^at the second beat of measure

18. Subsequent dynamics throughout the solo should also be increased by one level so

that all the m/dynamics should be/and all the/dynamics should bej/(Appendix D,

Figure 45). In the composer's own words, the cello should "just wail over the rest of the

texture."'®

At letter D (measure 26), I discovered in my rehearsal of January 24, 2003 that it

was difficult for the violins to create a sufficient accent on the third beat of the bar unless

they lifted the bow for a retake at the end of the half note which begins that measure. This

retake also gave the violins sufficient bow to sustain the slur at the end of the bar. To this

end, I have suggested to the composer that the third version of the score contain an

apostrophe or breath mark to indicate this slight lift, with perhaps an additional score

suggestion to make this lift of bow as rapid as possible. In rehearsing this section, all

violins had a tendency to make a very large space rather than a quick breath (Appendix

D, Figure 46).

As part of Swafford's concept of portions of this piece creating different planes of

sound overlapping and emerging from one another, it was suggested that the second

violins and violas reduce their dynamic from mp to p at measure 37 and again at measure

^ Ibid. Jan Swafford, Interview by author, 10 January 2003, Tucson, Arizona

27

39. This provided sufficient interplay with the dynamic swells in the cellos so that the

hymn tune "Rock of Ages" emerges and submerges within the texture (Appendix D,

Figure 47).

A practical notational change will be made at measure 46 in the final score. In the

course of rehearsals, second violins and violas performed their double-note figuration

(Appendix D, Figure 48) in a very staccato and dry fashion, since the notation included

what appeared to be two staccato dots under each triplet eighth note. In consulting the

composer after a rehearsal, his intention was only to reinforce the idea of two notes per

triplet eighth note rather than a staccato articulation." I have suggested that whenever

this notation occurs that the dots be removed and that the single line through each note

stem is sufficient to indicate a doubled note. The other spots where this notation occurs

are at measure 50 in first and second violins and at measure 82 in the violas and cellos

near the beginning of the fiddle-tune section.

In the fiddle-tune beginning at measure 81, a number of alterations were made in

the course of our rehearsal process. During one rehearsal, Swafford felt that presenting

the fiddle imxt fortissimo at letter K (measure 89) diminished the effect of the subsequent

changes to the texture as that part of the work built to its climax. In our preparation we

altered the two sixteenth notes before letter K (end of measure 88) to forte in first violins,

violas, cellos and basses, and changed the dynamic in the second violins from, forte to

mezzo-forte (Appendix D, Figure 49).

Jan Swafford, interview by author, 3 February 2003, Tucson, Arizona. Jan Swafford, interview by author, 31 January 2003, Tucson, Arizona.

A similar practical change was applied in the following section beginning at

measure 93 (Appendix D, Figure 50), where the composer marks the appearance of the

hymn "Rock of Ages" to be performed "quasi sacred harp." Swafford indicated that he

did not wish this section to sound like Brahms but he also did not desire an overly

raucous effect/^ In rehearsal I instructed the violas and cellos to add tenuto marks to each

bowed note from letter L (measure 94) through the end of measure 100. This provided the

necessary firm articulation without allowing the texture to sound like a parody of the

Sacred Harp style.

In the same section, Swafford has provided the option of allowing the first violin

part from measure 94 to measure 100 (also Appendix D, Figure 50) to be performed by a

soloist instead of the entire section to allow some saving of rehearsal time. He also

indicated that he imagined this as a very Ivesian effect, with the solo violin sounding as if

it were a fiddle tune heard in the distance beyond the hymn tune in the foreground of the

texture. Even though the solo is optional, there was no indication in the second version of

the score of where the entire section should reenter. The most logical place seemed to be

the final two sixteenth notes of measure 100, and the composer informed me that this was

his intention. The subsequent score of From the Shadow of the Mountain will include the

indication "tutti" above these final two notes.

Another difficulty in rehearsal came at measure 106 (Appendix D, Figure 51).

The bright register and vigorous bowing of the cello part in this bar tended to drown out

the figuration of the second violins and violas. For balance purposes the dynamic

Jan Swafford, interview by author, 17 January 2003, Tucson, Arizona.

marking in the part was changed to m/for the University of Arizona performances, and

this change will be indicated in the third version of the score.

Some of the changes I suggested to the composer involved clarifying the notation

of certain parts. One example is in measures 115 and 116 in the violin parts (Appendix D,

Figure 52). On the fourth beat of 115, it appears that Swafford only wants the upper E on

the first triplet note and then again on the last two sixteenths of the bar. At my

suggestion, he agreed that the notation should include the upper E on all the notes of the

fourth beat of that bar as well as on the first beat of the following bar, and this small

alteration will be included in the third version of the piece.

In some cases, finding the correct performance solution to realize the composer's

intentions took some experimentation in rehearsal. The second violin figuration at letter

Q (measure 126) was difficult to make audible within the texture (Appendix D, Figure

53). In rehearsal I made several suggestions to the section: playing sautille, playing in the

lower half of the bow, even having all players try to execute both divisi lines as double-

stops. The best solution that we found was to keep the divisi but to have the section play

at least slightly ponticello. The difference in sonority of this effect helped to bring out

this part of the texture, though both the composer and I feel that this may not be the final

solution to the problem.

In this same section, the fiddle tune is marked Stringendo e furioso (also

Appendix D, Example 53). In both rehearsal and performance it was somewhat difficult

to gauge any stringendo over the course of six bars that didn't render the figuration at

measure 131 unintelligible. Instead of a long stringendo, I have suggested that a Piii

30

mosso marking (possibly including a metronome indication) might be the most practical

way to keep the texture from getting completely out of hand, and that to have just one

increase in tempo (instead of a gradual one) would preserve ensemble without losing the

furioso feeling. In fact, in the performances of 1 March, 2 March and 12 March 2003 I

performed this section in just such a fashion and found that it provided the right balance

between increased energy and cohesive ensemble.

At the time of the writing of this study, some of the possibilities for altering the

score of From the Shadow of the Mountain are as yet not completely resolved. For

example, Swafford has indicated his desire to somehow alter the figuration in the section

beginning at letter H (measure 57) (Appendix D, Figure 54).'"^ We have discussed various

possibilities of making the cello/bass figuration less aggressive, including slurring the

cello parts as well as reducing the number of players to one or two desks in the lower

strings, but no satisfactory solution has presented itself.

At measure 109 and 110 (Appendix D, Figure 55), Swafford has found that the

figuration in the lower viola part is both awkward and inaudible, and that the upper D in

the part is somewhat superfluous in such an aggressive texture. He has toyed with the

possibility of changing the part to match the cello pizzicato, but at this juncture no firm

decision has been made.

Finally, the viola figuration beginning at measure 117 (Appendix D, Figure 56)

was problematic in rehearsal and performance. The jazz/gospel feel of this figure is

difficult to notate. In our rehearsals the violas and cellos tended to play very straight and

Jan Swafford, Interview by author, 7 March 2003, Tucson, Arizona.

very legato so that the articulation of the first sixteenth note after the tie was lost. I found

that the best solution was to ask the strings to cut the tie and to vigorously accent the

separately bowed sixteenth note following the tie. This may not be the ideal solution (and

the effect in performance was not always realized) and other alterations to the notation

may be necessary to give this figure a proper sense of "swing," such as notating stronger

accents on the sixteenth note following the tie.

32

IV. CONCLUSION

In conclusion, the two evolutionary processes acting within From the Shadow of

the Mountain are of paramount importance to the conductor in shaping his interpretation

of the work. Understanding the structure of any composition is critical to present the

strongest possible case for the work to both orchestra and audience. Likewise, the

conductor's interaction with a living composer is vital in the process of realizing the

composer's intentions and to help guide the composer to the clearest and most practical

way to notate those intentions for subsequent interpreters. By examining both the

evolutionary structure of the work, and implementing practical changes, the conductor

becomes a vital force in helping to secure a place for a new work in the orchestral

repertoire.

APPENDIX A:

SCORE EXCERPTS REFERRED TO IN TEXT OF DOCUMENT

Figure 1: OPC I and II

OPC I OPC II

34

Figure 2: Opening of From the Shadow of the Mountain, OPC I

FROM THE SHAPOW OF THE MOUNTAIN for string orchestra jj,,, g^vaflbrd

Immishm e melto npressivo

O P C I 4iv. n

(Mv. n

tui'nfii

-- J (mo jser line)

laal dcsjf pjax pesmir

A dash {iver s mk: ir.<iic3t8s & emphasB-poco sforzaiido

^ <5iv. in ^

Oraccs ere a!"^va>•^ as possiUK*

n FROM OPC IL

.. J 5 .

•S/

• '

"/

n

I ; /

. ['r^~ ' rzrto L|. ^

ic-i ') ' t r ''J * ^ • '• llt--:=:|^:::C:::::_;_r:__:;^ ^ ' j

35

Figure 3: OPC I, measures 34 to 35

33 r~7S:

opCI CTOM.*//) S-60

lontano

7Wp

2^ m mp

cqntobile. V

1

a

TuUi

mp

cantabilc M lea^i iiimeaslired tremolo on I! and Hi

m:

7/j/;

-7^

7,Vp mf mp

IS pizz.

\ mf mp

- 8 •

continued on next page

Figure 3 (continued): OPC I, measures 36 to 41

37

Figure 4: OPC II alone, measures 26 to 33 OPClT ONLf

f^,CTOM.33)

Via.!

Vlti.2 d}V. in.?

div. tn 3

aiv. jn J

/ piK(f rmn

div, m 2"«8SitKVo\4,S!<j

^ ^ >f.. ^

f" f~ — * " ; -

— LiitMu < -™ ¥

X.-...»|-.i--»»»iiiii»»w -3-—— y " " — —' '"'• ——'

f"""{ III j ,,

^.==£4. t

Figure 4, continued: OPC II, measures 26 to 33 OPCIL

VliiJ

Vc.

Bas3

pUyer i

player 2

playets I&2 r> ril. div

LJ— 4-

OPCX CTO M.fO OPCIC

i'/' Vin.l

Via.

^ ftmieaiXired tremolo on U and III

Vc.

39

Figure 5: Interaction of OPC I and II, measures 11 and 12

last 5TAW0 VIOLIfv/i: FoURiHAREDP/TCHEJ (OPCIyIT)

p \sl>)

* '"P n

Es^isr"C_.=^ lez^

t'lm-TUTTr VJOLIWX.'OPtXC

4~v

vioLiM 3t.: opcir

CELCO ; OPCX

BASS: Fou/? SHAPED p/rcrtes CoPcivin)

40

Figure 6: Exploration of sonorities in OPC I, m. 14 and 15

O P C X von

tst de»k

Vln.l loMfi

^mjoRSOMORines v«Mt<»ngs

Vin.2

Via.

Dti Ffl Brt DM

50WORIT/C5

Via, I

^ ^1* 3 1~

, ^^rE>. ijj*

Vl«,2

PP -soh (omy) y legato e c.^pres.-!

bf^ im A>i Cm LA ^ Luhers^

Make sure layers cif differing dynamics are observed— lu're, Ihtise usually <|uast-s|>atla} eflVcfs.

41

Figure 7: Common pitches between OPC I and II OPCI

$ l>'ji hJ" J J

Figure 8: Prominence of four shared pitches, m. 1 - 8

FROM THE SHADOW OF THE MOUNTAIN for string orchestra jfj„, swafford

HlCMesr PITCH W 7EXT»/le Inlrnsivo f moilo tsprtmva

VialiM 2 A n(inm%

» ^ Jh m I }\^ u U<5 desk fxn ism:

«' r-i

*< v„.- pii??-.

/C' Lsmesr^mrctfiN textuw I Gmct s .vn ala jvi, x iKii-ibk

'i

i m #I

i

A !S. Ul

')

1 n 1

m )

•::./

' n

#

'i Atii

is\. !;8 ' ^ »

" W' 1"

/ ~

N , i 'J ^ ^ . - tl

i ' * ; i

EESEfHi-/ !-

t mmmm i—-1 Jr 0 » »•

. f - H

! i;i • " H J'ww—•>»«» Mmumm i i i I u

•»•• • t r;:»ir:':::::::::::::;;|:,..2:M::, .1 -i iflU-•'

/ 'v

I -tj ' ' U

IZUI.

bass: four shared pitches owcy cm. H-»3)

43

Figure 9: Prominence of four shared pitches, measures 13 and 14 E'l-owiY hTCH IN 4Ffoo/J SHAKO rirdnef

con vih.

desk

'In. I

hers

POOR SHARED PIT-CNES.; FLP

ln.2

solo ^owej

, solo div.

Vc.

POOR SMICEB PNTMES.'66T»n or icrw

M . n ; f o u r s h a r e d p i t c h e s c e x c e p t £ * * )

44

Figure 10: Four common pitches linking OPC II and OPC I, measures 33 and 34

OPC 31 ONLi CFRO/f M.U)

33

09CXONLY CTOtl.*il)

lontano

:anktbile V

cantabile

Jnmea^ired tremolo on U and III

FOUR SH/ixeb pIrenes Ll/^K BETlVEfiW OPC IT OPCT Ch.3*i-HI)

45

Figure 11: Prominence of four shared pitches, m. 34 - 36

A - HtO-HeiJ U6TB IN TEXTUfE OFcitCFfoM h.nc) ® \ oPCICrort.vO .s""

" " —SB'" iE^ EP=

lontano

mp PP 33

CT=-

mp

{.

[;

i:

ph cgnmbite V

t

gl I Tutti

cantabi

w mp

JnmcaSired tremolo on H and III

rr,/ mp pizz.

7\ mf pf - UweST No^ IN TEXTURE

poco a poto

FOU»? SHAIfEO PlTdHCS

g

^ m/

V!n.!

Vln,2

Via.

Bass

46

Figure 12: Four shared pitches as chord roots, measures 26 and 27 „ brfe ft f

f locan^arcaici 50^

mureist

y '^poconsuT'eto

<: V, Irs 2".i«SK5cytji)(SHk

cmajok

tezpiael

^ bjfc It ^

F iJ' ' • ^ —-jj|f ' liiiiiiiiin—a I I

RtoT roiiTiAU TRIADS- Poog SHtvkeD pircHes Uiv

'jfitijir.

j .«k

Stx

J sf-

J ys^.xt tfiCiit:

sj'z

EE

Si? mf

.^...rrrrrg:^

#A1 6 M AM CM

47

Figure 13: F-sharp as end of octatonic section, m. 42

"U Misterioso

iS"") V loco - 69

ten.

VI n.l

immcasiired tremolo poco ril.

con sorcl.

Vln.2

" ' PP poco rij^

Pi Urn. cot: sord. div.

Via.

poco rit. con sord. div. ten.

Vc. -sss-

- p PP

ten. arco poco ril

Bass

F*- OA/e OF FOUK SHAKEO FITCHES _ FITCHES

COJU ct-uoes ocT/iTdntc secTio /u Ca Mi) TKlTO*/e FK6A1 FifJAL mH/IOWIC GOAL (CtlAJdK)

48

Figure 14; pitch collection, measures 43 to 49

,nj

Misterioso poco rit.

,= 69

Viti.l

unmeasured tremolo poco rit.

Vin.2

poco ri^

con sonl. div.

Via.

PP poco rit.

con sonl. div. ten.

Vc,

pp can sorj.

arco poco rit. ten.

Bass

Xje^iTCH couecTioN HOtJ-OCTAToUtC BE6IWS WF7M5 PJTCHCS continued on following page

Figure 14 (continued): Pitch collection, measure 44 to 47

49

fx! •2=J==j=^=r^ | ..vy.'iSi#,',,,', T jr..,.»„^„,|V' .,3^ .TT..! g, ',,,,iynH»..-T.—

dtv. in „> - k, k- #• g

JP Mmnea^foi trexiKilo dlv. inS-iaside/yutesdc ^

div. in 2—jr.aidc/ouisi<te (sorxl.)

44 <Jjv. ill 2—iitside/ouis-idc (id-d)

wew HTCHCb JNTR600CC0

^ «Jfv. 'm '^--insule»^ou1sM tm rd.

r...A

4^ djv, in 2"ins}div'ou^>ide cmst>nt-

m h$:gicm, pmta d4it'i3rci> (on -striag)

.sul ponu j J

pi,- " punis dsrarc^) (o.-s strijig) j

pp su! pom. maiie g iiSggiem. punln dcJ'arr:^ (on Etrmg) 4/^

* *

u oUiers O

rv

-wp~

i J _ J ^

Ip

m-) _*! *• *——y * J

iiuit

arto (soru.^

CBASi SdoA»Bs BAXioy

50

Figure 14 (continued): Pitch collection, measure 48 to 49

H

48 ]£ r SF .i~~fe

J---—-3— ,

* ji£ ~M.

-—1=4=1=, -&J --1^

*J -<c; jujo M

« ' e ' M P

t

—

_ zz^-pp

H'

mp

J 3 '

EP

TMli ^

rn:i3gF:;fH "1^:::;

3 ^3 ') ,

r'.-^; y „

r^4= "•

lasr desk 4g —__.j —

• h P <

i

V'

W ^

-i .

.:.' r m

mp

^^

|h!^=-=f=====f

^ -c=r" mo

0 , uY^-rrrz -Izi==EE^

J=^^. j- - • -- J

:zz=====-_ pp

m

51

Figure 15: Pitch collection, measure 53 to 56 fievj pitch <0lt£ctidhi

non'octatonic

Vln2

--C ^

en.fu .fora

Via.

Vt.

Bass

sens^ sor^ div. m

cr p

<iiv. la 2—

scm.

senm

ma seiuu 4ord

Vin.2 «_,

mp

la.

Vc,

52

Figure 15 (continued): pitch collection measure 53 to 56;

Broadly, poco meno mosso

Vln.l

Vta.2

div. in 3

div. in 3

/ >

div. in 3

Vc.

last player pizz.

53

Figure 16; Pitch collection, measure 57 to 59 wew F'TCH C0LL£C7»0p UOtJ^QCTATONlC

,i> i i «> ^^1 Broadly, poco meno mosso -.72

VIbJ

Yln.2

div> m 3

div. m 3

div. m 3

last player pi?x.

E^-F PROMlWfNCr

54

Figure 16 (continued): Pitch collection measure 57 to 59

div. in 2--iuside/outsidc

intensivo

div. in 2—inside/outuddi

A intensivo a. <(3.

55

Figure 17: Pitch collection, measure 81 to 86

a/eia/ Pitch couecmn non-octatonic

J \ j Scherzando e molto ritmko -88 ® J=

Tutti leggiero 'en. y > a poco

mp (on the string)

itii leggiero

(on the string)

a poco

a poco

56

Figure 17 (continued): pitch collection, measures 82 to 87

Vln.i

Vln.2

Pimik

VFp i-^ the String)

> mf

slmik >

Via,

mp (on the jilrbig)

pitcnes wtf^onoceo 6kad0ally

Vln.

Vln.2

A -J —

'k.2

Via

'•0-

57

Figure 18: Transformation to final hymn, measure 135 to 136

f rr"

:ix: via.

! i ^

" V_l' •

V'c, B-F CotimCTi TO D 131

continued on following page

Figure 18 (continued): Transformation to final hymn, measures 137 to 139 ^piskuprm'^^lehehits

FRort opc

player 2

m <liv. m 4

I

hnkina poco Vib. V

131 play CI 1

Vln.2

vib, y

div. III 2'-ms{<k/outside

<l3v. 'm

mmte

4i\\ m 2—inskJe/otitsidc

c cmttahik

Vc.

I ^p men

NOTH: "pijco vibis ose «kgree vibrato l\m\ nonius I- a liglit vibr^ito

59

Figure 18 (continued): T^^^sformat^ij fi^^^i^mn, measures 140 to 142 cantabik

poco vib, h/fiam>

cantabth P pocst vib. V

player 2 hntam ^

mntabik poco vib.

playi^3 ^

qasi/cbuo : move wth/afds fmajor/cmajok

Figure 19; Transformation to final hymn, measure 143 - 146

60

piaycf I

player i

J 43 pi«y«T3

(iradual slowing, rabalOv until the

gfnptice. ma esp^sj simuif

P /f^O i'l.

.KV«.W

=:rr: mf fW£:<3 )fe-

i<mplk "w Piiivcr I

P I* pc>a>yih player 2 ma tsxpr^s

lF3^-zhQ3 - - - 1 /1-

P ffoco vib

wm=m

1 " f h a i o r

61

Figure 20: Final hymn ("Nearer, My God, To Thee") in C major, measure 151 to 156

tiiui y I5i

iM

mc i>

m .jq: others

h-a

i: Tiilli

jPP kgmo . V

vif: mort'ndo

/eg«to Tmti y

iS*-p

1

vb. m.

mf:

Vi-.

*{pp i'cflo

I iegom

p — t n f 1 : ; ^ — mimmih)

. :~i=o pp

151 r p

legam

pp

4 ^ ;.l

mf morvndo

^zzatZ:::;

Cass

p 1>

{ -c: r«i

"i/ •Ts H

p - 3 3 -

(soMisdiiig middle C)

C AMJOi?- PfM^L HAR/loNtc. CrOAL

- 7/// • mon-mio

Medford, summer '01

62

Figure 21: Windham (Sacred Harp tune)

open haktio^jy cwithdot

D H A M /Rtad, 1785

And thou-sands walk togeth there; But wisdom shows a. aar iroad is Use road that leads to kicatf row path, Wilhhereandthere a trav

Is u>e Kc-dcemer'5 great nd{ Na-ture must count her gold sutUross, if she would eain this heav nly Def ny thy-self, and takcTOy cot >

And walks the ways of God more. Is but es-tecmed ai - rnos a fflint.And makes msowndcstruc - tion Rar-ful soul that tires and

ew. Which hy-po<ritcs could nc er atVtain, Whicn false aposfites nev-cr Crc - ate my heart en - tire let not all my hopes be 4. Lore, vain

63

Figure 22: Swafford, measure 93 to 100, marked "Quasi Sacred Harp"

ML

Vln.l

Vln.2

iegato ma vigoroso—quasi sacied harp

Via,

legato ma vigoroso-quasi sacred haip

Vc.

. p

pat.

- 2 2 -

continued on following page

Figure 22 (continued): Measures 94 to 100, marked "Quasi Sacred Harp"

OPEM HAHMOUIES CWTHE SV(l£ OFSMJXP HAKf)

hgi'a' l H i b ^

65

Figure 23: "Rock of Ages'

181 7 7 7 7 7 7

Autmatiia M. Tooladv. 1776. a. UiCD Rr fU/AFF8ltr)

ROCK OF AGES, CLEFT FOR ME

Thomas Hastings. 1830

f.— 1 •—H ^ :h h -r—

L 5_J , 5=i • ——3—P

—t!si M

1. Eock of A -2. Not the la • 3. Noth-ing In 4. While i draw

ges, cleft for lae! Let me hide my - self in Thee; bora of my hands Can fnl - fiE Thy law's de - mands; my hand I bring, Sim - ply to Thy cross I cling; this fleet-ing breath, When mine eye-lids close in death,

•-S-

p—r

m HZ TT -rdr-

Let the wa • Coald my zeal Na - ked, come When I rise

ter and the Mood, From Thy riv en side that flowed, no res - pite know, Cfeuld my tears for - ev - er flow, to Thee for dress; Help-less, look to Thee for grace; to worlds un-known,See Thee on Thy jadg-ment-throne,

-o-

£

Be of All for Fonl, I Kock of

sin the sin conld to the A - ges, jt_

per - feet core; Save me. Lord! and make me pure. not a - tone; Thou mostsave, and Then a-lone.

foun-tain fly; Wash me, Sav - ior, or I die! cleft for me. Let me bide my-self in Thee! A - MEN.

-p—^

66

Figure 24; "Rock of Ages" measures 17 to 20 RC.'f

/la. I

.'to.2

Vis i:

Vc.

J ^ i i last plajwf pizz.

ilF /.

Ie ftgit intemivo #•

-v-^ n

ii

r&cm ® P Afr«S / =s#

te player ptzz.

--pip mf

pocq p«mnl€ iast j>laytr pizx. V

-J"Tj " mp —=rr / mp

... M iZ!' iZri£- "li: •r^f-—— J ;-"3

f

m J .i

via. I

: z f -J «/

M rzS S

Vc. / m/- /

/

Bass = /

"'/

r|E

67

Figure 25: "Rock of Ages" measure 26 to 29

Vlli.1

Vln.2

ij

tliv in 5

j pomfrmvato suli iik, m 3

dry. in 3

* rftv. in 2"iasj#b'outsid;

^'RocK CF A6-£'S ({/(OC-AS)

<aiy. /';>«<:;e ?3,'trr«i.'o M Jf ^

/ '#• u

/ s/»

p Mi

"2^

fjp

t Sfs

68

Figure 26: "Rock of Ages," measures 35 to 39

eo ma lontano r'l

mp

mp

caiuabile v

mp

Tuai cantabile

eaktLd trei Umnea^ired tremolo on H aiid III

r^fr^ J _,

pis ' i1

ss vvp /

is mf

- s -

mp ^rdck of ag-es''

( V I O U M a , V t C L f i t )

i Vb.i

nie

V!ii,2

*J cnisc. poco a poco

i: B mf

via.

Vc.

mf

—r—y —

/» i MW" HI ^-|e

Bass

mf mp

69

Figure 27: "Rock of Ages," measures 93 to 100

(ossia (w-

leggiero #-

Vln.l

Vhi.2

legato ma vigoroso—quasi sacred harp AD

Via.

I?,DC<r<3F/^&ES ; legato ma vigoroso-quasi sacred harp

Vc.

Bass

- 2 2 -

continued on following page

70

Figure 27 (continued); "Rock of Ages," measures 94 to 100

1n. l

(r* K O C I C C ^ ^ l O L A , C E L L O , 6 ^ 5 5 )

Im Vv-., ? 1

m 1#^:

^''hock'of A<J€5"* 3assy

IS

i:

£ 1,1=

:p3E3E r^=E&==ri|> J —

i/ 'ii

iSi "Rocr Of AceS* (Viot.A, cei-'-o, SASS)

71

Figure 28: "Rock of Ages" violas, measure 122 to 125

121 -5-—

Igsy • V

\6ck ofag€^'cmlas) ''1(1.2

Via.

11^' ] ieeato, ma vieorvj-o

soU m >>

- 'j ' l—mmtSa I i—

Vc.

Jass i pi:

f

m

nA m 'x6cr^g€s" cviot-a s )'

m:

v'c.

, - ^ > p - f

SS3" if

72

Figure 29: "Nearer, My God, To Thee'

Sljf C^riatiau Mtf—(Brass anb Cl0tiifort

290 NEARER, MY GOD, TO THEE Sarah F.^ AdainjS, 1841 Bethany 6 464664 Lowell Mason, 1856

#±: --ts

liT' 1. 2, 3. 4. 5.

3^2 zz. -rr->

Near - er, my Qod, to Thee, Near - er to Thee! Though like the wan - der - er, The sun gone down, There let my way ap - pear Steps nn - to heav'n; Then with my wak - ing thoughts Bright with Thy praise, Or i{ on joy - ful wing, QeaT - ing the sky,

az ->gr I®" »—•

i ^33 E'eu Dark All Oat Sun,

though it he a - nesa he i) - ver

that Thou send - est of iny ston - j

moon and stars for •

cross me, me

griefs got,

That My la Beth -Up -

rais - eth rest a mer - cy 6l I'll

ward I

me, stone, giv'n; raise; fly;

s?-

l=i

—a/-

j I j j: j , j-^J—j :cg3i

iri -i my God, to Thee, my Qod, to Thee^ ray God, 'o Thee my Qod, to Thee my Qod, to Thee

Still Yet An So Still

my song shall be, Near -my dreams I'd fee, Near -to beck - on me Near -my woes to be Near -iny song shall be, Near -

U5i?D 8Y SiV^FR>CP

Near Near Near Near Near

my Qod, to Thee, ray God, to Thee, my God, to Thee, my Qod, to Thee, my Qod, to Thee,

3^ «

Near - er Near - er Near - er Near - cr Near - er

Thee! Thee! Thee! Thee! Thee!

1 -OU.

A - MEN.

73

Figure 30: "Nearer, My God, To Thee" measures 151 to 156

Ml (XL

' I .PH /vil .3 \ others

legam Tu rn y

morendo

*'pp i'gmo

V

moremio y iegmo

5—

mkkiie C) f}io/vn<iv

Medford, summer '01

74

Figure 31: "Nearer, My God, To Thee," first seeded measures 1 to 8

FROM. THE SHABOW OF THE MOUNTAIN

Mmtufm t moUo apressiva

for string orchega^^^ swi,rf«rd

''WEARf'?, MY &0D, TO TH££

Vielia

mi

w - - -rr; i / im ^e^p3sr.. imt pet Um)

iv m 2 jn^

bi J I Bms

^ i Cfi^i:e.s ait! always |X!5ii.»fcl<

i • • ? •_ ; i

4iV. 5P= 4

lrrF-^=IE «:rrjt

iSSV. io 4

•'.,)»*} 1m*„< • *

Li* *#. , • ifa, J! *• ** S «. — -I I* f

f

i: j i| — mv

75

Figure 32: "Nearer, My God, To Thee," seeded in measures 22 to 25

g-oo^to ntensivo

> gop^to motl!^ S=2?r~2r—

xntemivQ

I rutti arco

Qtliers «i-j*3/A2- M OTI1^ P^(?MV£ArE e,

mtensim

rmti afx^o

continued on following page

76

Figure 32(continued): "Nearer, My God, To Thee" seeded in measures 22 to 25

Vln.l

Vln.2

Via.

tothee ^ ^

ncmvE " wl >3

Vc.

m go t), ro-ni£b^

h i M.

div.

ML

Via.

r P^-m3Mj2. horwe fkom AfV G-OD, TO thb£

Vc.

77

Figure 33: "Nearer, My God, To Thee" seeded in measures 39 to 41

''NtARlR. M Gap, TO ThEE^ MOTIVE

Vk.

'MFARFK. mH-OD. TOlUEt

Vlfl.2

mp

vu.

Vc.

inp

mp

fen.

Vk.l

— p unmeasured tremolo

V!n,2

cofi sord. div.

Via,

tm. fr pOCQ fit

con sont div

Vc.

;> fp avi sont

(en. arcg>

78

Figure 34: "Nearer, My God, To Thee," seeded in measures 46 to 51 g-ovjo-niet'^notil/e

<liv. m 2-"insidc>'oi de . A con srmL

div. m 2"tns5<i5j/outside con S0fd.-

I pp hf^giem, punia tiei'arcQ {on sfring)

sui pant. J J

'• •* smik kg$imi. punta deVsrcp {mi &iimg) ^ ^ s

t-

$u! pont. simile

i'«?gir*en>. pufttit detan:^ (on string) s

pp sulpunl " mmile

oshers

ite4 pp

last <Je:sk

mp

m 3

"ntmk, Mf^D7fo7ri££''/1(5T/t;!?-

:zifi

-pp f ^•e

-pp

79

Figure 34 (continued): "Nearer, My God, To Thee," seeded in measures 46 to 51 "nEMBK 50D, To IJlBi'' M art VE

v_JL—

VlnJ

VIn.:

via

4S . S

iass

/i Y (fiJD, to-v^'^fiorimt

higgiem. punta dd 'iira. .niponl. 50 (en suing) >

^ ^ mp i -~-^=rr mf ' mp Gunta del sul p<}n{. . .. ' '^ stmiie

dafc: ijc: i pi {o« stiiHg) J ^

, _ hfi - nonnak ,

mf

pjtti

/

E£ J>P

50

m:

' afu la'^l desk

y&H^Ks^mteo o,tothea^

i- /

^=dll==±f:

PP f

80

Figure 35: "Nearer, My God, To Thee," measures 68 to 70

Meno mosso

64 ten.

66

jP ten.

pj* u n fTft f VP

M ten.

—rlr^-nrff-Kfi t

P m

I ^ r[' H ten.

pp

jt .b>»....^ ^ i ^

i §==M

p pp

V fTl ten.

SOtjTOTWft noT/lC

espress. 1 i p

66 ' Others V

ft Vp "1 /c«. ^

f j|J [it

niente

"ir-zt-mf

8^

P PP

66 V ST^ '«n.

t i

continued on next page

81

Figure 35 (continued): "Nearer, My God, To Thee", measures 70 to 73

(«"r-

"we/vRER, H y c-oi), TO THet Hon

73 Z L-" -xrii-

iS»»-

^ f 0- 0 ^ ifr -i'g y ~~p~^ t fti^ » :' • >

NFA-KER./id' G<>D,TO thee''''MOTIVE

.1 ~| . , jlii m} n V _ ===3i?b:r ' 0 m 0 • »_ J j«J « J^i|3

73 B%iii=|g

82

Figure 36: "Nearer, My God, To Thee" measures 137 to 139

mmtt 12? A dkm4 Imtam

Vin.l div. in 4 player 3 Imimo

13? <iiv. in 4

13? player 1

div. in 2-}t5sideMutsi(k

Via. ^ 4iv. In 2—liJsideAuvt^ide

ITSp mf dsv. in 2™»t«ide/(W»i<lB

fi ksti fjtekvaltrn), "mzf, n f GOD, TO Vc, m div. in 2—inside/oiitsids:

n: mp

mp zr:,r=^:-=— P —= "_r_

NOTB; "(5000 vib." is one degree kss vibrato than noms!- -a light vibiaSo

83

Figure 37: "Nearer, My God, To Thee" measures 140 to 142

cantahiie poco vib

pkycr I haUmo player I

cantabih^^ \ib, V

piayer 2 hntano ^ ^5^ pkycr 2

cmtabiie pnco vih.

pl^er3 imtam L player 3

m '

140

!40

m'i Vc. wMf:,MY&oD,TOTW£e 1410

84

Figure 38: "Nearer, My God, To Thee" measures 151 to 156

T>- Qtliers

inJ

- "'/ moreruio

no /

Vi%

<> €>

Medford, summer '01

85

Figure 39: Tempo anomaly, measure 57

i Broadlj', poco nieno mosso =pi^£t/iot/s

Vta,l

Vln,2

/

Vta,

"""/

i«t player pizz.

#

86

Figure 40: measures 54 to 56, version 1

Vln.l

V1i!,2

mp hi

Vc.

II j Broadly, p»c«> menu luosso

Vijs. i

•.stml

f

87

Figure 40 (continued): measures 54 to 57, version 2

Vln.l

Vl)i.2

Via.

Vc.

t iremoh

div. in 3

m I I if"

newm/^ieml NOTIM VeKSIOM I > '"i Broadly, poco inenii ni«mo

i— FlTOifS ALTERED FKOM

v£ksm

—I?

div. tn i

dfv- in ^

-™/i/eW rtABEKiAL I"'

lly~""/vor in vekstom

88

Figure 41: viola solo, version 1

^ meno mosso

ten. •=64

PP ten.

Vln.l

PP

Vln.2

ten.

ten.

Via.

PP

ten.

PP Vc. ten.

PP

89

Figure 41 (continued); viola solo, version 2

fxTOflWJURE ADDED TJSSTTExroRE ftJ /

t^rprrrr irrr^ JP ten

kjt jiir^#bi»^

(b/tej

menie

01 ijers v

90

Figure 42: measures 120 to 123, version 1

klj

1* • P'

•M'.,' 1

V

=±4^

/ = K

I - g- —f

^pLii—3 legato, ma bril n'

soli

H-i p—^—

ante

^ —' tpi * 1 1

= C - f . f !*• &tS-:^fc|5

i2(> ' »

___^

-4^-^ ^

, > .. =5^ -», /

i - > - -

u,, tiwl /

pizz. > _

-i f Ef"

> „— >•

-J-f f.—

Vlii.l

Viri,;

Via.

Vc.

Bass

91

Figure 42 (continued): measures 121 to 125, version 2

'In. 2

Via,

T^S'' legato, ma vigoroso n

io/i

Vc.

iass fe

/

mwm remt

92

Figure 43: measures 124 to 127, version 1

(q) Stringendo

1.- •% ri rf f F#=@y B ssssss i=t

S i—1 ""Bn

div. in 2—inside/outside g ,1* _£•

li'i dii : in 2-

H sit

-insidis 5=;

lUe

'outside SRlfrlUAt- F' 6-UMT

f J 'f

6\) ~ VtOUKI

iSSSSSSSSSSS— 5.

n? .f, J

#= f , [ "bsSs If ,

f m

die

V \ h»=i

V =z:fbi

1 4^

1 ^

* J * J=± J * -W #L

[ Wr-SSSBB

=#

" «

r ^ I* T f f f 1 0 (:/r

.jimmSSE -4=

a ® —sd-

^ -> ..• v . /M ji m » m F 1

i A

llte=

H —t MM S MM

=j=fe 1 ' UM- sLr!—'

1 • '

1 J- J d=f=rb:z:d

93

Figure 43 (continued): measures 126 to 127, version 2

(q) Stringendo e furioso 126

div. m 2"inside/out5iae

slmUe sinpu Fi6-Ufif\TiOKl: VIOLIU 'i' dir. in 2~insid«/oulside

mm

m >

m

Figure 44: measures 149 to 154, version 1

div. 1/ 23

•o

£k

PP dm M. SX

o JCi

Figure 44 (continued); measures 151 to 156, version 2

fMSi V 151

In. I

11-I * p/> k .

j

Vc,

Bm.S;

—6. <5'__

1 V 5 i«/f< „ I 0-f

L....

• JV' A

3^0

k

M:

if;

u-y

P ' iiil

ojie 1„,J» y'tict, _ {,

-r::: r,f

, o 1" T _ "i/-:

Mi i ; <*•

i&m ^ ^

' f- I J'-' t ci_

mii iiie I

Bwes lA/DICATH Fir^H chaa/^ei prom version i f mf ".t: •:"•••-

Me<lfoi <1, !i>uinjner '01

95

Figure 45: Dynamic changes in rehearsal, cello solo, measures 17 to 20 ttilu

Vte, i:

Vc.

Bass "P

mp

last player pia.

rt

bff..- ^ n

epes.*• ftf gat> •flrmisf^

mp s H

lasi player pijx. V ^

n las! playci fiixz.

-«===:/ ' ^

— ?73p

«/

rr4

VIn.l

v%.2

Via.

riTi# rFTM

Bass

96

Figure 46: Articulation change in rehearsal, version 2, measure 26

f poLomarc&iQ 3ou

murffdio

/ sm-o

97

Figure 47: Dynamic change, version 2, measures 36 to 38

3S ,

i -f r 1^ Vln.l

i:

t'' cresc.

f1

poco poco p

i Vln,2

n (mp mf

f p 01^. f f

[ Vc,

mf 7^-

i Bass

mf mp

98

Figure 48: Articulation changes, version 2, measures 46 to 48

4^ iHv. to 2--ifistde/t>ul^5dc <i>n s jitl

r i r ^ 0i9- ....

PP

div. m con sarti.-

jfa», v„ b*

32:

!lL

le^-giera. puma d^i'arco {m\ . uipml..

•umiuare Dorj CNotJ staccato) 1 ,— . )

t'm simuc

puma d^ptKO (on straig) ^

pj:fsu(pom. ' ximih

kggiiim, punta tfef"any (on m'mg) s

—i.

pp suipont. " simile

iitteK V

J»F {«sl desk

iv p==gE

Mip.^ —

gfvti (soni) y:..-

3E PF

— mp

- 3

; mp

pp

h'

99

Figure 49: dynamic change, version 2, measure 88

Via.

Vln.2

V H Via.

Vc.

Bass

100

Figure 50: Articulation changes, version 2, measures 93 to 100

(ossia \^o.

kggiero M. #- M.

Vln.l

Vin.2

legato ma vigoroso—quasi sacred harp AD Via.

WOL/^I csuo: ALLO OW STKOfl^ abbteuuto (j)

legato ma vigoroso—qu;fei sacred harp

Vc,

pizz.

Bass

- 2 2 -

continued on next page

101

Figure 50 (continued): Articulation changes, measures 93 to 100

'hi-i

tiv.

vlc)la.ic.£l.lb-.all BCW stf-okei APD TEWOTOCjF")

bcj ii'ih i

iJ~}

jytTi;

102

Figure 51: Dynamic changes, measure 106

'ln.l 105 player 2

i

i: con fuoco

111.2

Via.

Vc.

/ con fuoco

i essss^s

m f

con fiiaco div. B B ffi q w a I?

Wm "if i ^ ^ ^ 8 f"

@^L1 J BALAWte wh \/l6uts

103

Figure 52: Notation change, version 2, measures 115 and 116

^ ' sostmopeheiummour

Vln.l

Vln.

i:

£f r >

Vc,

s

104

Figure 53: Bowing change, measures 126 to 129

I LL.I—•••MIIIB V ^

(Q) Stringemioefurioso ~FlU MOSSO /^ORE REkUSTiC .

r r

div. in 2—iiiside/ouisidc

W L I K / X " P d h J T I ( . E L L t > ' iliv. in 2•• • insidc/outsidc

•J 7. Z T. 7. > si/nife

y'=r=>-r-- mm r r J i

•mt Lmmmmmmmmm

E££f—^

(F6C6 F6hir.) —

717/1

g_>LQ'^ ^ , 0. w . m. mm.

UH wf /F>-y--fYr

> ^

1 ''

Hp > - 30 -

Figure 54: Cello figuration, measure 57

Broadly, poco meoo mosso

PoisiBte si-okb

'

106

Figure 55: viola figuration, measures 109 to 110

others >/i />., rh /p-l >/h /"fl I >/h /5«tL ^

/ ast desk

others

tj >

105 last desk

i 4nJ-

div. in 2—mside/oulside

V > ^

div. in 2--inside/outside = mr & 1

J 't >

kj i y (oti the string)

.'hit! > _ —

I piu. IM / (on Ihc striitg)

107

Figure 56; Viola and cello figuration, measures 117 to 120

Vln.l

ff Driving Tutii n

i*

Vlii.2

Driving

" -

SOCr&eST£C> aktlcut^tlou

chakkrbi

Bass

V ^

VlB.i

Vln.l

Via.

Ve,

1 :1' Ld=*

div. _ _

108

APPENDIX B:

FROM THE SHADOW OF THE MOUNTAIN: CHANGES TO THE SCORE BETWEEN VERSIONS 1 AND 2

m. 1: Added score indication: "A dash over a note indicates a slight emphasis - poco sforzando"

m. 1: Added score indication, bass: 1 Bass

m. 2 - 3: no changes from first version

m. 4: added score indication, cello and bass: pesante m. 4: score indication change, cello: div in 2 - inside/outside - replaces non div. m. 4: added score indication, cello: last desk pizz (one player per line) m. 4: added score indication, bass: last desk pizz

m. 5: added score indication, all parts: Graces are always as fast as possible

m. 6: notation change, cello and bass: last quarter no longer tremolo (starts at beginning of next bar)

m. 7: added score notation: Tutti arco (cellos and basses) m. 7: pitch/rhythm change, violin 1: div. violin 4: pitch D now starts on beat three

(instead of last sextuplet of beat two)

m. 8: no changes from first version

m. 9: score indication change, violin 1: violin 1 now 1 player (top line) and others (2"'' line)

m. 9: dynamic change, violin 1: (all) marked ppp (previously pp) m. 9 - 10: orchestration change, violin 2 and viola: pitches reversed from original version (violin 2 plays previous viola pitches and vice versa)

m. 10: added bowing indication, violin 1: up bow mark in middle of bar (both parts)

m. 11: score indication change: Flowing removed from score m. 11: score indication change, violin: top line (senza vib.)

m. 12: rhythm change, violin 2: different rhythm, beats two and three (pitches remain the same)

m. 13: rhythm/pitch change, violin 1: holds F# from previous bar (no A) m. 13: articulation change, violin 2: slur from last triplet note of 1®' beat into 2"'' beat m. 13: articulation change, violin 1 and 2: tenuto mark over E natural

109

m. 13: pitch/rhythm change, cello and bass: different last pitch of the bar (F instead of B in cellos; A instead of E-flat in basses)

m. 14; metronome mark change: new version J =58 instead of J =60

m. 14: notational change, viola: stems now in same direction, beats three and four

m. 15: added bowing indication, violin 1 and 2: up bow marked on beat three, (all parts) m. 15: notational change, viola: stems divided on beat two

m. 16: no changes from first version

m. 17: added score indication, viola, cello and bass: last player pizz on last eighth of measure

m. 17: added score indication, cello and bass: poco pesante last note of measure

m. 18: pitch/rhythm change and bowing/articulation change, solo cello: (beats one, two and four)

m. 19: dynamic change, solo cello: solo cello dim on beat four

m. 20: added dynamic marking, solo cello: mf, cresc. to/ m. 20: added articulation, solo cello: tenuto marks on beat three

m. 21: added articulation, tutti cello, bass: tenuto mark on second half of beat two and on last two notes of measure

m. 21: added score indication, tutti cello: div. at end of bar (applies to m. 22)

m. 22: part division change, cello: marked as others (top line) and last desk (bottom line) m. 22: added score indication, viola, last desk cello: marked Tutti arco (see m. 17) m. 22: added bowing indications: violin 1: up bow in middle of D; viola: up bow on

second slur of bar; cello: up bow on second slur of bar

m. 23-24: no changes from first version

m. 25: added score indication, viola: div. in 3 m. 25: added articulation, violin 1: accent on B natural (second half of beat two) m. 25: added dynamic change; dim. to mf in violins 1 and 2 (instead of sub./in original

version) m. 25; added bowing indication, viola, tutti cello: down-bow marking, second half of beat

two

m. 26 (letter D): added score indication, viola: poco marcato and soli m. 26: changed score marking, cello: "div. in 2 - inside/outside" instead of div. (applies

to m. 27)

110

m. 27: added score indication, cello and bass: poco marcato m. 27: added articulation, cello and bass: sfz on first note

m. 28: no changes from first version

m. 29: articulation change, viola: no slur in violas, notes 2-4 (eighths)

m. 30 - 31: articulation change, viola: no slur on last note of 30 and first two notes of 31

m. 32: additional bowing indication, viola: down bow on beat three m. 32: notational change, viola: stems divided

m. 33 - 34: no changes from first version

m. 35: additional score indication, violin 1: lontano, player 1 m. 35: additional dynamic indication, cello: mp, second beat of bar m. 35: bowing change, violin 2, viola: up bow instead of down bow, viola, end of

measure m. 35 - 36: articulation change, violin 2, viola: slur at end of 35 now broken into two

slurs (last beat of 35, first two beats of 36)

m. 36 - 41: articulation change, cello: maintain bariolage (from m. 34-35) instead of tremolo of first version

m. 37: articulation change, violin 2 and viola: slur is now over second and third notes of measure instead of last three notes

m. 37 - 38: note length change, basses: F-sharp only 3 beats - no longer holds through first beat of next measure

m. 39: dynamic change, violin 2, viola: no crescendo to mf; marking is now mp without cresc.

m. 39: articulation change, violin 2: tenuto mark on beat three m. 39: additional bowing indication, violin 2 and viola: down bow on beat m. 39: additional bowing indication, violin 1: up bow in the middle of first note

m. 40: added dynamic indication, violin 1: dim top, beginning on beat 2 m. 40: bowing change, violin 2, viola: two slurs broken into smaller units m. 40: additional bowing indication, violin 2, viola: up bows on first and final slurs of the

measure

m. 41: additional bowing indication, violin 2, viola: down bow at beginning of bar m. 41: articulation change, violin 2, viola: long slurs broken into slurs of two or three

notes

I l l

m. 42: additional bowing indication, all parts: up bow - down bow m. 42-43: note length change, violin 2, viola, cello: F# sustains to the first sixteenth note of m. 43

m. 43: additional dynamic indication, violin 2, viola, cello: pp at beginning of measure

m. 43: metronome marking change: now J = 69 instead of J = 76

m. 44: additional score indication, viola, cello: div. in 2 ~ inside/outside m. 44: articulation change, violin 1, upper viola: accent on first note of bar m. 44-45: bowing change, viola, cello: slur across bar now broken m. 44: dynamic change, lower viola, cello: m/instead of mp

m. 45: articulation change, lower viola, cellos: slur no longer to final note of bar

m. 46: additional score indication, violin 2, viola: (on string) after leggiero, punta del arco

m. 46: score indication change, cello: divisi now marked as others (top line) and last desk (bottom line)

m. 47: additional dynamic marking, violin 1 (outside), last desk cello, bass: cresc. to mp (by second note), dim to pp by end of bar

m. 48: additional dynamic marking, violin 1 (outside), last desk cello, basses: cresc. to mp (by second note of measure)

m. 48: additional dynamic marking, violin 1 (all): mp on final note of bar m. 48: additional score indication, viola: tutti at beginning of measure m. 48: additional score indication cello: last desk on lower part (reminder)

m. 49: additional dynamic indications: outside violin 1, last desk cellos, basses: dim to pp (by beat 3)

m. 49: additional dynamic indications: inside violin 1, outside cellos: pp on beat 2 m. 49: additional articulation marking, lower violin 1: tenuto mark on dotted half note

m. 50: additional score indication, violins 1 and 2: leggiero, punta del'arco, sul pont. (on string) at beginning of bar

m. 50: additional score indication, viola: normale after first beat

m. 51: dynamic change, viola, cello, bass:/at beginning of bar (previously mf) m. 51: additional articulation marking, cello and bass: tenuto mark on penultimate note of

bar

112

m. 52: pitch/rhythm change, cello: remain divided (previously tutti); addition of E-flat -D-C

m. 52: additional score indication, viola: div. in 2 - inside/outside (applies to m. 53)

m. 53: scoring change, violas now div. (remains so through H) m. 53: additional score indication, violin 1: normale

m. 54: pitch/rhythm change, violin 1: last note now D, not B-flat m. 54: additional bowing indication, violas: down bow beat 2; up bow (staggered) in

beats three and four

m. 55 - 56: pitch/rhythm change, cellos: notes changed on first triplet, new notes starting on beats two and three (additional div. p), new notes in both parts through m. 56

m. 55 - 56: pitch/rhythm change, violin 2: completely different pitches through m. 56; in m. 55: begins one note earlier than previous version

m. 56: additional articulation marking, violin 1, violin 2: accents on different triplets in each bar

m. 57: scoring change, violas, cellos: div. changed (most notably in via 2, inside cello) m. 57: articulation change, cello: no slurs in outside part (through m. 64) m. 57: pitch/rhythm change: bass: E-flat no longer held through beats two and four; part

changes continue through m. 64 m. 57: articulation change, violas: addition of accents at the beginning of each slur/tie m. 57: additional articulation marking, cellos/basses: sfz at beginning of measure m. 57: articulation change, cellos/basses: > instead of tenuto on beat three

m. 58: additional score indication, violin 1 and 2: intensivo m. 58: additional bow marking, violin 1: up bow in middle of long C, down bow on last

note of measure m. 58: additional articulation marking, violas: accents on first note of measure; tenuto

marks on repeat of same figure m. 58: additional articulation marking, cellos: accents (upper) and tenuto (lower) on first

note of measure; tenuto on repeat of figure (both parts) m. 58: additional articulation marking, basses: tenuto mark on quarter notes

m. 59: additional bowing marking, violin 1: up bow in middle of first note m. 59: additional articulation marking, viola, cello, bass: tenuto marks on beginnings of

each new figure, on quarter notes in bass part

m. 60: additional articulation, violin 1 and 2: tenuto mark on second note m. 60: additional articulation viola, cello: simile

m. 61: no changes from first version

113

m. 62: additional bow marking, violin 1 and 2: up bow on second note

m. 63: additional bow marking, violin 1 and 2: up bow on first note of measure m. 63: pitch/rhythm change, lower cello: remains on A (only one low C)

m. 64: additional bowing marking, violin 1: down bow on second note of measure m. 64: dynamic change, inside cello, bass: mp on last note of measure

m. 65: additional bow marking, violin 1: down bow in middle of measure m. 65: additional bow marking, violin 2: down bow on second note of measure

m. 66: articulation change, violins 1 and 2: no slur between first two notes m. 66: additional bow marking: violas: up bow on 2"'' note of bar

m. 67: Addition measure added in version 2; measure numbers from this point onward refer to the second version of From the Shadow of the Mountain

m. 68: additional bow marking, violin 1 and 2, tutti viola: up bow at beginning of measure

m. 69: no changes from first version

m. 70: bowing change, solo viola: no slur C# to D.

m. 71 - 76: no changes from first version

m. 77: bowing/articulation change, solo viola: first slur broken into two; bowing changed to down bow on second note of measure

m. 78: bowing/articulation change, solo viola: first note of bar is separate, next two slurred; first note bowed up bow

m. 79: bowing/articulation change, solo viola: first note of measure is separate (after tie), next two slurred; first note (after tie) bowed up bow

m. 80: no changes from first version

m. 81: additional notes, violin 2: tutti now begin at tempo change instead of one bar later

m. 82-83: no changes from first version

m. 84: additional score indication, viola, cello: vigoroso

m. 85: additional score indication, violin 1 and 2: vigoroso added

114

m. 86: no changes from first version

m. 87: dyneimic change, violin 1 and 2: added sfz on 8''^ note of measure; sub. mp on tenth note, sfz on fifteenth note of measure

m. 88: dynamic change, violin 1 and 2: added on eighth and tenth notes of bar m. 88: dynamic change, violin 2:/added on last two notes of bar m. 88: dynamic change, cello: ff added at end of bar

m. 89: bowing change, violin 1, viola, cello: second beat of measure now bowed separately; same bowing change on four beat of the bar

m. 89: pitch change, violin 1, viola, cello: last sixteenth of third beat is E-flat (previously C) and first eighth of fourth beat is now F (previously E-flat)

m. 90: bowing change, violin 1, viola, cello: fourth beat now bowed separately (first eighth note no longer slurred to previous beat)

m. 91: articulation change, violin 1, viola, cello: first beat now divided into two slurs m. 91: pitch change, violin 1: last 3 notes of bar are now B-flat, A-flat, B-flat m. 91: pitch change, violin 2: last 3 notes of bar are now E-flat, C, E-flat

m. 92-93: pitch change, violins 1 and 2: from the last 3 notes of m. 91, violin 1 now plays what was previously assigned to violin 2, and violin 2 plays the previous violin 1 part down an octave.

m. 93: score indication addition, viola, cello: legato ma vigoroso - quasi sacred harp m. 93: score indication addition, solo violin 1 (end of fourth beat): leggiero m. 93: score indication change, solo violin 1 now marked ossia solo (though the

composer recommends this option) m. 93: dynamic change, solo violin 1: now marked mf instead of/

m. 94: articulation change, viola, cello: slurs are removed m. 94: bowing/articulation change, solo violin 1: second beat now bowed separately

m. 95: pitch change, solo violin 1: first eighth of second beat now F not E-flat; sixteenth that follows is now E-flat, not B-flat.

m. 96: bowing/articulation change, viola, cello: slur removed from last three notes m. 96: bowing/articulation change, solo violin 1: second beat bowed separately

m. 97: bowing/articulation change, solo violin 1: first beat bowed separately; down bow marking added on first note of measure

115

m. 98: bow marking addition, solo violin 1: down bow on second sixteenth of measure m. 98: bowing/articulation change, viola, cello: slurs removed

m. 99: bow marking addition, solo violin 1: down bow on first note of measure m. 99: bowing/articulation change, solo violin 1: last beat now divided into two slurs m. 99: bowing/articulation change, viola: no slur to first note of measure

m. 100: bowing/articulation change, solo violin 1: first slur of measure is over two notes; one separate note, two slurred, three slurred

m. 100: pitch change, viola: last two notes of measure are one octave lower than before m. 100: bowing/articulation change, cello: slurs removed from last three notes

m. 101: bowing/articulation change, violin 1 and 2: first and third beats now slurred; second and fourth beats bowed separately

m. 101: articulation addition: viola: accent on first note of measure m. 101: pitch change, violin 1 and 2: last sixteenth of third beat now B-flat, first eighth of

fourth beat now C m. 101: pitch change, viola: part one octave lower than before

m. 102: bowing/articulation change, violin 1: first beat now divided into two slurs m. 102: bow marking addition, violin 1 and 2: down bow on last beat of bar m. 102: bow marking change, violin 1 and 2: down bow removed from 2"'' beat m. 102: pitch change, viola: part one octave lower than previous version

m. 103: pitch change, viola: part one octave lower than before, with change from B-flat to F occurring half a beat earlier (first beat of measure)

m. 103: bowing/articulation change, violin 1, all parts: second and fourth beats broken into two slurs

m. 103: bowing/articulation change, violin 1, all parts: second and fourth beats broken into two slurs

m. 104: dynamic change, violin 1: solo violins at end of bar now markedjQT (previously f) m. 104: additional score indication, violin 1: solo violins now marked soli brillante

m. 105: articulation change, violin 1: accents added to both solo violin parts on first, fourth, sixth, eighth, ninth, eleventh and fourteenth sixteenth notes in the measure,

m. 105: no changes from first version

m. 106: notation change, cello: lower divisi has separate stems pointing down

m. 107: dynamic change, violin 1: solo violin parts now markedjQT instead of/. m. 107: articulation change, violin 1: accents added to both solo violin parts on third,

sixth, eighth, ninth, twelfth and fifteenth sixteenth notes of the measure

116

m. 108: pitch addition, violin 1: solo violins join texture on second half of second beat, doubling tutti violin 1 and violin 2

m. 108: articulation/bowing change, violins 1 and 2: third slur of measure (four notes) broken into two 2-note slurs

m. 109: bowing addition: up-bow added to violas, beat 4 m. 109: articulation change: accent removed from cello pizzicato, beat 4 (error?) m. 109: part division change, violin 1 and violin 2: divisi parts now marked "others" and

"last desk" instead of "players 1-3" and "player 4" respectively m. 109: part division change, viola: divisi parts marked "div. in 2 - inside/outside"

instead of "player 1" and "players 2 and 3" m. 109: part division addition, cello: divisi parts now marked "div. in 2 - inside/outside"

instead of div.

m. 110: notation change, cello: lower divisi has separate stems pointing down

m. I l l : bowing addit ion, v iolas and cel los: up-bow added to second note of the measure

m. 112: bowing addition, violin 1 and 2: up-bow added to first note of the measure m. 112: bowing change, violins 1 and 2: double up-bow removed from violin 2; down-

bow added to penultimate sixteenth note of the bar in violin 1 and 2 m. 112: additional score indication, bass: (use jazz pizz. here through m. 130) added

m. 113: bowing change, violin 1, violin 2, cello: slurs on beats one and three no longer connected to following eighth note; double up-bow removed, second half of beat 2

m. 113: part division change, viola: divisi parts now marked "div. in 2 - inside/outside" instead of "player 1" and "player 2"

m. 114: bowing change, violin 1, violin 2, cello: four-note slurs on second and third beats divided into two two-note slurs; slur on third beat no longer connected to following eighth note

m. 114: bowing change: violin 1, violin 2, cello: double up-bow at end of bar replaced by down-bow on penultimate sixteenth note

m. 115: bowing change, violin 1, violin 2, cello: first slur of measure over four notes instead of five; up-bow and down-bow markings on the second half of beat two removed; four note slur on beat three broken into two two-note slurs.

m. 116: bowing change, violin 1, violin 2, cello: five-note slur beginning on beat two now broken into one two-note slur followed by a three-note slur; double up-bow on last two sixteenth notes of the measure removed.

117

m. 117: bowing change, violin 1, violin 2: slur beginning on beat three no longer connected to following eighth note; bowing markings changed on last two sixteenth notes of the measure from up-down to down-bow

m. 117: score indication change, viola, cello: molto ritmico now replaced with "Driving"

m. 118: bowing change, violin 1 and 2: four-note slurs on beats one and three changed to two two-note slurs; down-bow added to beginning of beat two; slur beginning on beat three no longer connected to following eighth note; up-bow marking removed from violin 1 on penultimate sixteenth of bar; double up-bow and slur removed from last two sixteenths in violin 2

m. 119: bowing change, violin 1 and 2: five-note slur beginning on beat three broken into two two-note slurs and following eighth note is now separate.

m. 119: bowing addition, cello: down-bow added to first note of measure m. 119: part division change, cello: unnecessary divisi now eliminated

m. 120: bowing/articulation change, violin 1 and 2: four-note slur on beat 2 broken into two two-note slurs; five-note slur beginning on beat three broken into two two-note slurs with the following eighth note separate; tenuto accents added on first slur of the second beat, both slurs in the third beat and on the penultimate sixteenth note of the measure; double up-bow on the last two sixteenths has been eliminated

m. 121: bowing/articulation change, violin 1 and 2: first slur no longer connected to following eighth note; double up-bow on second half of beat 2 eliminated; last slur of measure over four sixteenths and no longer connected to following eighth note.

m. 121: rhythm change, cello: rhythm in both divisi parts identical (tie removed from third/fourth beats in lower part)

m. 121: pitch change, cello: penultimate sixteenth note in lower divisi cello part is now A instead of F

m. 121: bowing/articulation change, cello: staccato marks and accents added to eighth notes on first and third beats of the bar; down bow markings added to first, second, fifth and sixth notes of the measure

m. 121: pitch change, bass: two sixteenth notes in this bar changed from A-B to F-E

m. 122: score indication change, viola: marking changed from "legato, ma brillante" to legato, ma vigoroso

m. 123: pitch change, viola: last three notes changed from A-B-A to A-B-D; A and B now one octave lower; quarter note rest on second half of beat two now eliminated; quarter note D is now dotted quarter

m. 123: pitch change, cello: upper divisi part on beats three and four now D and B instead of A and G; lower divisi now F and D instead of E and D

118

m. 123: pitch change, bass: last five pitches are now D-D-B-A-F instead of A-A-A-E-G

m. 124: additional measure added; as before, measure numbers from this point onward refer to version 2

m. 125: first half of bar completely different from measure 123 in first version; pitches in second half of bar are the same as first version except for lower divisi cello part, second half of beat three (G sixteenth instead of D)

m. 125: bowing change, violin 1: up-bow added to last slur in the measure m. 125: bowing change, viola: three-note slur on beat three changed to two-note slur and

a separate eighth note; up-bow marking added on beat three

m. 126: score indication change: marking changed from Stringendo to Stringendo e furioso

m. 126: pitch change, violin 1 and viola: last sixteenth note of beat three now D instead of B; first eighth of beat four now E instead of D

m. 126: bowing/articulation change, violin 1, viola: five-note slurs on beats one and three are now four-note slurs followed by separate eighth-notes; bow markings on second half of beats two and four now eliminated

m. 126: pitch change, violin 2: alternating D and A in both parts changed to A in upper part (D on last eighth of the bar) and D in lower part (A on last eighth of the bar)

m. 127: bowing/articulation change, violin 1 and viola: four-note slur on beat one now broken into two two-note slurs; five-note slur on beat three broken into two two-note slurs followed by a separate eighth note; up-bow marking added to penultimate sixteenth note of the measure

m. 127: pitch change, violin 2: alternating A/E in original version replaced by E in upper part (B on last eighth) and A in lower part (E on last eighth)

m. 128: bowing change, violin 1 and viola: four-note slurs on beats three and four broken into two two-note slurs each

m. 128: pitch change, violin 2: similar change to m. 126, change to D and A on last sixteenth of the measure

m. 129: bowing/articulation change, violin 1 and viola: five-note slur on beat one broken into two two-note slurs and a separate eighth note; up-bow marking added on second half of beat 2

m. 129: pitch change, violin 2: similar change to m. 127, change to D (upper part) on last sixteenth of the measure

m. 130: pitch change, violin 2: alternating notes in both parts now changed to A and B in upper part, E and D in lower part

m. 131: no changes from original version (measure 129)

119

m. 132: bowing change, violin 1, violin 2, viola, cello: up-bow added to first note of measure; bowing on second note changed from up-bow to down-bow

m. 133: bowing addition: up-bow marking added to last triplet note of beat three

m. 134: score indication change, violin 1: "rit. a" eliminated m. 134: bowing change, violin 1, violin 2, viola, cello: down-bow added over whole note

m. 135: no changes from original version (measure 133)

m. 136: part division change, violin 1, viola: div. indication added at the end of bar (reminder for beginning of m. 137)

m. 137: part division change, viola: part now divisi in 2 rather than three parts; parts are marked "div. in 2—inside/outside" instead of "player 1," "player 2" and "player 3."

m. 137: part division change, cello: parts are marked "div. in 2—inside/outside"

m. 138: part division change, violin 1: divisi parts are now marked "player 1," "player 2," "player 3" and "player 4"

m. 138: notational change, violin 1: harmonics are now notated as they are to be played (with a diamond note head over a solid note) rather than at the sounding pitch with a circle to indicate a harmonic

m. 139: notational change, violin 1: harmonics are now notated as they are to be played (with a diamond note head over a solid note) rather than at the sounding pitch with a circle to indicate a harmonic

m. 140: notational change, violin 1: harmonics are now notated as they are to be played (with a diamond note head over a solid note) rather than at the sounding pitch with a circle to indicate a harmonic

m. 141: notational change, violin 1: harmonics are now notated as they are to be played (with a diamond note head over a solid note) rather than at the sounding pitch with a circle to indicate a harmonic

m. 141: pitch/rhythm change: violin 1: harmonics are two triplet beats earlier than in the previous version. Players 3 and 4 have notes that were previously in the following measure. Note length for player 1 is longer than the original version

m. 141: dynamic change, violas, cellos, bass: p at end of bar notated earlier than in previous version (possibly a correction of a notational anomaly).

m. 142: pitch/rhythm change: violin 1: harmonics are two triplet beats earlier than in the previous version. Note lengths are longer for players 2, 3 and 4 in the second version.

120

m. 142: bowing addition, violin 1: up-bow added to last note, players 1-3. m. 142; notation change, violin 1: natural sign added to last note, player 3 (reminder from

G-flat harmonic tied over from the previous measure)

m. 143: bowing change, violin 1: up-bow marking added to last quarter note in the measure

m. 143: pitch/rhythm change, viola, upper cello: tie beginning on second beat lengthened by one full quarter note (to first eighth note of 144)

m. 143: dynamic change, viola and cello: mf marking now placed on first eighth note of next measure

m. 144: pitch/rhythm change, violin 1; dotted quarter note at the beginning of the measure is shortened to a half note tied to an eighth note; the last three eighth notes of this measure and the first six eighth notes of the next measure occur one full beat later than the original version

m. 144: pitch/rhythm change, viola, upper cello: eighth notes that began on last eighth of previous bar in the first version now occur one full quarter note later in the second version (see notes on m. 143).

m. 144: rhythm change, bass: pizzicato notated as a half note in version 1, whole note in version 2

m. 145: pitch change, violin 1: last two eighth notes in this bar are new; other notes are displaced from previous measure (see notes on m. 144)

m. 145: pitch change viola, upper cello: pitches in this bar are one beat later than in the original version (see notes on m. 143 and m. 144)

m. 145: pitch/rhythm change, lower cello, bass: low C added in both parts as syncopation on second half of beat one; F is one eighth note later than in the first version

m. 145: dynamic change, lower cello, bass: F now marked mp followed by a diminuendo

m. 146: part division change, violin 1: second version divisi parts marked "player 1," "player 2" and "player 3" (continued from previous page); same parts marked soli

m. 146: articulation change, violin 1: tie from previous bar eliminated m. 146: pitch change, violin 1: on first note of measure, player 1 has A instead of C;

player 2 has F instead of G; player 3 has C instead of E. m. 146: notation change, viola, cello, bass: apostrophe breath marks eliminated

m. 147: articulation change, violin 1: apostrophe breath mark added, all divisi parts before beat three

m. 147: pitch change, viola: first pitch in upper part G instead of previous B; first pitch in lower part C instead of previous G

m. 148: score indication addition: simile added to all parts (refers to apostrophe in previous measure)

m. 148: pitch change, viola: second eighth note in upper part C instead of previous B

121

m. 149: pitch change, viola: upper part: second and third pitches A and C instead of D and E; lower part: second and third pitches now F and G instead of A and C.

m. 150: pitch change, viola: first note in upper part C instead of E; first pitch in lower part G instead of C

m. 151: bowing addition, violin 1, violin 2, viola, cello: up-bow marking added on first note of measure (down-bow mark in viola eliminated)

m. 151: articulation change, violin 1: last two notes of bar slurred m. 151: pitch/rhythm change, violin 2: last two beats of bar now G half note instead of A

dotted quarter and eighth m. 151: pitch/rhythm change, viola: last two beats now two eighth notes and one quarter

note, pitches F-E and D; changed from on F

m. 151: pitch/rhythm change, cello: changed from whole note C harmonic to two half notes, C and B (both parts)

m. 151: score indication addition, cello: legato added (both parts)

m. 152: pitch/rhythm change, violin 2: pitches changed from G-G-F to F-E-D; rhythm

changed from J.i'J to JJJ

m. 152: pitch/rhythm change, viola: whole note D replaces F-E-D

m. 152: pitch/rhythm change, cello (both parts): whole note C harmonic replaced by JJJ,

A-G-F

m. 153: bowing/articulation change, viola: last two quarter notes slurred

m. 153: pitch/rhythm change, cello: F-G J J on last two beats replaced by D-E-F AN

m. 153: notational change, cello: both parts remain in treble clef until 155

m. 153: pitch/rhythm change, bass: whole note G replaced by E-F-G JJJ

m. 154: pitch change, violin 1: last two quarter notes B-A changed to G-F m. 154: pitch change violin 2: last two quarter notes G-F changed to E-D

m. 154: pitch change, viola: whole note F and A changed to JJJ A - B - C

m. 154: pitch change, cello: whole note D changed to JJJ A - B - C

m. 154: notation change, bass: harmonic notated as played (though incorrect) instead of as sounding; carries additional notation: (sounding middle C)

122

m. 155 - 156: pitch change, violin 1: unison E changed to divisi G m. 155 - 156: pitch change, violin 2: G eliminated m. 155-156: pitch change, viola: middle C added

123

REFERENCES

Scores:

Swafford, Jan. From the Shadow of the Mountain. Score. First version, 2001. Collection of the composer.

. From the Shadow of the Mountain. Score. Revised version, 2001. Collection of the composer.

Ives, Charles. Symphony No. 4. New York: Associated Music Publishers, 1965.

Audio Recordings:

B.F. White sacred harp. Wiregrass Sacred Harp Singers. New World Records. New York, New York: 1997. Compact disc.

The colored sacred harp. Wiregrass Sacred Harp Singers. New World Records. New York, New York: 1993. Compact disc.

Swafford, Jan. From the Shadow of the Mountain. Chamber Orchestra of Tennessee, Richard Cormier, conductor. Private recording. Collection of the composer. Compact disc.

. From the Shadow of the Mountain. University of Arizona Symphony Orchestra, David C. Cole, conductor. Recorded 8 February 2003. Private recording. Collection of the author. Compact disc.

. From the Shadow of the Mountain. University of Arizona Symphony Orchestra, David C. Cole, conductor. Recorded 1 March 2003. Private recording. Collection of the author. Compact disc.

. From the Shadow of the Mountain. University of Arizona Symphony Orchestra, David C. Cole, conductor. Recorded 2 March 2003. Private recording. Collection of the author. Compact disc.

Video Recordings:

Swafford, Jan. Rehearsal of From the Shadow of the Mountain. University of Arizona Symphony Orchestra, David C. Cole, conductor. Recorded 27 January 2003. Private recording. Collection of the author. Videocassette.

124

. Rehearsal of From the Shadow of the Mountain. University of Arizona Symphony Orchestra, David C. Cole, conductor. Recorded 31 January 2003. Private recording. Collection of the author. Videocassette.

. Rehearsal of From the Shadow of the Mountain. University of Arizona Symphony Orchestra, David C. Cole, conductor. Recorded 3 February 2003. Private recording. Collection of the author. Videocassette.

. Rehearsal of From the Shadow of the Mountain. University of Arizona Symphony Orchestra, David C. Cole, conductor. Recorded 5 February 2003. Private recording. Collection of the author. Videocassette.

. Rehearsal of From the Shadow of the Mountain. University of Arizona Symphony Orchestra, David C. Cole, conductor. Recorded 7 February 2003. Private recording. Collection of the author. Videocassette.

. Performance of From the Shadow of the Mountain. University of Arizona Symphony Orchestra, David C. Cole, conductor. Recorded 8 February 2003. Private recording. Collection of the author. Videocassette.

. Performance of From the Shadow of the Mountain. University of Arizona Symphony Orchestra, David C. Cole, conductor. Recorded 9 February 2003. Private recording. Collection of the author. Videocassette.

. Performance of From the Shadow of the Mountain. University of Arizona Symphony Orchestra, David C. Cole, conductor. Recorded 1 March 2003. Private recording. Collection of the author. Videocassette.

. Performance of From the Shadow of the Mountain. University of Arizona Symphony Orchestra, David C. Cole, conductor. Recorded 2 March 2003. Private recording. Collection of the author. Videocassette.

. Performance of From the Shadow of the Mountain. University of Arizona Symphony Orchestra, David C. Cole, conductor. Recorded 12 March 2003. Private recording. Collection of the author. Videocassette.

Interviews:

Swafford, Jan. Interview by author. 12 October 2002. Tucson, Arizona

. Interview by author. 17 January 2003. Tucson, Arizona

,. Interview by author. 21 January 2003. Tucson, Arizona

125

. Interview by author. 23 January 2003. Tucson, Arizona.

. Interview by author. 28 January 2003. Tucson, Arizona.

. Interview by author. 3 February 2003. Tucson, Arizona.

. Interview by author. 5 February 2003. Tucson, Arizona.

. Interview by author. 7 February 2003. Tucson, Arizona.

. Interview by author. 10 February 2003. Tucson, Arizona.

. Interview by author. 17 February 2003. Tucson, Arizona.

. Interview by author. 21 February 2003. Tucson, Arizona.

. Interview by author. 27 February 2003. Tucson, Arizona.

. Interview by author. 7 March 2003. Tucson, Arizona.

. Interview by author. 10 March 2003. Tucson, Arizona.

. Interview by author. 13 March 2003. Tucson, Arizona.

Electronic documents:

Swafford, Jan. Electronic letter to author, "Re: a few questions..." 7 December 2002

Books:

Merriam-Webster's Collegiate Dictionary, Tenth Edition. Springfield: Merriam-Webster, Incorporated, 1993.

The Methodist hymnal; ojficial hymnal of the Methodist Church. New York, Methodist Publishing House, c. 1939.

Antokoletz, Elliott. The Music ofBela Bartok. Berkeley and Los Angeles, California: University of California Press, 1984.

Burkholder, J. Peter. Charles Ives: The Ideas Behind the Music. New Haven: Yale University Press, 1985.

126

Cobb, Buell E., Jr. The Sacred Harp. Athens, Georgia: The University of Georgia Press, 1978.

Cowell, Henry and Cowell, Sidney. Charles Ives and His Music. New York: Oxford University Press, 1955.

Feder, Stuart. Charles Ives "My Father's Song." New Haven: Yale University Press, 1992.

Hitchcock, H. Wiley and Vivian Perils. An Ives Celebration: Papers and Panels of the Charles Ives Centennial Festival-Conference. Urbana, Illinois: University of Illinois Press, 1977.

Ives, Charles. Essays Before a Sonata, The Majority and other writings. Ed. Howard Boatwright. New York: W.W. Norton and Company, 1970.

Jackson, George Pullen. The Story of the Sacred Harp 1844-1944. Nashville: Vanderbilt University Press, 1944.

Messiaen, Olivier. The Technique of my Musical Language. Translated by John Satterfield. 2 vols. Paris: Alphonse Leduc, 1956.

Swafford, Jan. Charles Ives: A Life with Music. New York: Norton Publications, 1996.

Taruskin, Richard. Stravinsky and the Russian Traditions: A Biography of the Works through Mavra. 2 vols. Berkeley and Los Angeles, California: University of California Press, 1996.

Van den Toom, Pieter C. The Music of Igor Stravinsky. New Haven: Yale University Press, 1983.

Weisberg, Arthur. Performing Twentieth-Century Music. New Haven: Yale University Press, 1993.

Articles:

Boulay, Jean-Michel. "Octatonicism and Chromatic Harmony." Canadian University Music Review/Revue de musique des universites canadiennes 171 (1996): 40-56.

Eckert, Michael. "Octatonic Elements in the Music of Luigi Dallapiccola" The Music Review (February 1985): 35.

127

Eskew, Harry. "Andrew W. Johnson's 'The Eclectic Harmony': A Middle Tunebook in Middle Tennessee." Notes - Quarterly Journal of the Music Library Association 582 (December 2001): 291-301.

Forte, Allen. "Debussy and the Octatonic." Music Analysis 101-2 (March-July 1991): 125.

McKenzie, Wallace. The Alto Parts in the 'True Dispersed Harmony' of 'The Sacred Harp' Revisions." MM5tca/ Quarterly (1989): 153.

. "Anthems of the 'Sacred Harp' Tunesmiths." American Music (Autumn 1988): 247.

Scholten, James. "The Tunebook That Roars: The Sound and Style of Sacred Harp Singing." Music Educators Journal (February 1980): 32.

Wai-Ling, Cheong. "Scriabin's Octatonic Sonata." Journal of the Royal Musical Association 1212 (1996): 206-228.

Windham, Kathryn. "The Sacred Harp." Music Journal (March 1954): 14.