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HARD TIMES COME AGAIN
by
Adam Stephen Hill
B.A., Whitman College, 2002
M.Mus., Western Washington University, 2010
A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE
REQUIREMENTS FOR THE DEGREE OF
DOCTOR OF MUSICAL ARTS
in
The Faculty of Graduate and Postdoctoral Studies
(Music)
THE UNIVERSITY OF BRITISH COLUMBIA
(Vancouver)
April 2016
©Adam Stephen Hill, 2016
Abstract
Hard Times Come Again is a musical composition consisting of seven songs composed for alto voice,
baritone voice, two violins, viola, cello, double bass, mandolin, banjo, guitar, and piano. In totality it
is approximately thirty minutes in duration, and individual songs range from three to six minutes
in duration. The songs take their text from poems constructed by the composer, along with poet
Bren Simmers, from oral history of the Great Depression. The musical style of the composition
draws on both folk music and classical music influences, with specific sub-genres, such as
bluegrass, honky-tonk, and minimalism, also referenced.
The written document puts the musical composition into personal and historical context.
Aspects of the author's personal musical experience are discussed in the first chapter in relation to
both folk music and classical music. A brief discussion of North American folk music as well as
classical music that has drawn on folk music influences follows in the second chapter. The third
chapter discusses musical traits of the composition including form, text, harmonic language,
rhythm, and texture, and the fourth chapter includes a brief aesthetic statement. A program note
and a complete musical score of the composition are included as appendices.
ii
Preface
This dissertation is original, unpublished, independent work by the author, Adam Hill. Bren
Simmers contributed editorial suggestions in the formulation of the lyrical content of the songs. An
earlier version of “This Is What Happened” was arranged for soprano, tenor, violin, cello, guitar,
and piano; this version was performed by the Erato Ensemble on March 27, 2014 at the Orpheum
Annex in Vancouver, British Columbia as part of the Sonic Boom Festival.
iii
Table of Contents
Abstract...............................................................................................................................................................ii
Preface................................................................................................................................................................iii
Table of Contents..............................................................................................................................................iv
List of Tables.......................................................................................................................................................v
List of Figures....................................................................................................................................................vi
List of Examples...............................................................................................................................................vii
Chapter 1: Introduction.....................................................................................................................................1
1.1 The Great Recession and My Return to Classical Music..........................................................1
1.2 Early Commercialization of Roots Music and The Great Depression....................................3
1.3 Hard Times and “Hard Times Come Again No More”..............................................................5
Chapter 2: Influences and Precedents.............................................................................................................6
2.1 A Polystylistic Approach...............................................................................................................6
2.2 What is Folk Music?.......................................................................................................................8
2.3 Some Characteristics of North American Folk Music.............................................................13
2.4 Folk Music Influences on Composers of Classical Music.......................................................22
Chapter 3: Form and Style in Hard Times Come Again.................................................................................29
3.1 Overall Formal Structure.............................................................................................................29
3.2 Lyrical Content.............................................................................................................................31
3.3 Instrumentation and Performance Considerations.................................................................34
3.4 Folk-like Forms.............................................................................................................................36
3.5 Less Folk-like Forms.....................................................................................................................43
3.6 Harmonic Language.....................................................................................................................51
3.7 Rhythmic Treatment.....................................................................................................................57
3.8 Melodic and Linear Treatment...................................................................................................61
3.9 Texture and Counterpoint...........................................................................................................63
Chapter 4: Closing Thoughts..........................................................................................................................69
4.1 An Aesthetic Statement................................................................................................................69
4.2 Coming Again...............................................................................................................................71
References..........................................................................................................................................................72
Appendix A: Programme Note......................................................................................................................76
Appendix B: Musical Score.............................................................................................................................77
“It Was Rough Going”........................................................................................................................79
“This Is What Happened”..................................................................................................................93
“One of My Father's”........................................................................................................................127
“I Was Relieved”................................................................................................................................161
“Three-Hundred-Twenty Acres”....................................................................................................188
“I Had a Terrible Guilt”....................................................................................................................216
“We Had So Little”............................................................................................................................231
iv
List of Tables
Table 1: Formal outline of Hard Times Come Again......................................................................................29
v
List of Figures
Figure 1: Quotations from the source text....................................................................................................31
Figure 2: Quoted fragments in poetic form..................................................................................................32
Figure 3.: Lyrics as they appear in the song.................................................................................................33
Figure 4: Formal outlines of “It Was Rough Going” and “One of My Father's”....................................38
Figure 5: Formal outline of “Three-Hundred-Twenty Acres”...................................................................38
Figure 6: Formal outline of “I Had a Terrible Guilt”...................................................................................46
vi
List of Examples
Example 1: Banjo part from “We Had So Little” (mm. 83 – 87).................................................................35
Example 2: Guitar and bass parts from “It Was Rough Going” (mm. 52 – 71).......................................40
Example 3: Banjo and bass parts from “One of My Father's” (mm. 96 – 116).........................................41
Example 4: Guitar and bass parts from “One of My Father's” (mm. 166 – 171).....................................42
Example 5: Fragmented narratives in “This Is What Happened” (mm. 40 -71).....................................45
Example 6: Baritone part from “I Had a Terrible Guilt” (mm. 5 – 6 and mm. 43 – 44)..........................47
Example 7: Alto and guitar parts from “One of My Father's” (mm. 24 – 34)..........................................51
Example 8: Guitar and bass parts from “One of My Father's” (mm. 36 – 40).........................................52
Example 9: Composite harmonies from “I Was Relieved” (mm. 86, 98, 104, and 110)..........................53
Example 10: Banjo and guitar parts from “Three-Hundred-Acres” (mm. 40 and 91)...........................54
Example 11: Piano part from “This Is What Happened” (mm. 65 – 67)..................................................55
Example 12: Baritone and mandolin parts from “I Had a Terrible Guilt” (mm. 12 – 15)......................56
Example 13: Grouping structure of the refrain from “Three-Hundred-Twenty Acres”
(mm. 37 – 60)........................................................................................................................................58
Example 14: Vocal melody from “This Is What Happened” (mm. 1 – 13)...............................................60
Example 15: Vocal melody from refrain to “It Was Rough Going” (mm. 12 – 19).................................62
Example 16: Imprecise unison and octave doublings in “This Is What Happened” (mm. 14 – 17).....64
Example 17: Monophonic ending to “It Was Rough Going” (mm. 106 – 108)........................................65
Example 18: Alto and baritone parts from “We Had So Little” (mm. 35 – 46)........................................66
Example 19: Violin I and II, viola, and cello parts from “We Had So Little” (mm. 121 – 128).............67
Example 20: Alto and banjo parts from “Three-Hundred-Twenty Acres” (mm. 37 – 40).....................68
vii
Chapter 1: Introduction
1.1 The Great Recession and My Return to Classical Music
As 2007 came to a close, the United States was entering into an economic recession that would be
more devastating than any of the previous ten recessions the country had faced since World War II
(Aliber 2012: 52). Over the next two years, the unemployment rate rose to 10.0%,1 and countless
people defaulted on mortgages and other loans and payments (U.S. Bureau of Labor Statistics 2012:
2). Contemporary economists have taken to calling this turn of events the Great Recession,
referencing the troublesome times that followed the stock market crash of October 1929. Though the
differences between the two eras regarding global impact and the effectiveness of governmental
reactions are still being analyzed and debated, there is value in revisiting the stories of the Great
Depression if only to inform our own navigation through troubled times in a modern age.
In the last month of 2007, I was leaving a six week fellowship as an artist-in-residence at the
Wurlitzer Foundation of New Mexico. I had spent my time there writing and recording an album of
bluegrass-tinged folk songs. Though my undergraduate training in music composition focused on
classical music,2 I had engaged with that world little since obtaining my degree.3 Most of the music I
had written during the previous five years was for various rock and roll, bluegrass, jazz, or new-
acoustic groups with which I had been performing. While in New Mexico, however, I did make a
connection with the Soundscapes Chamber Music Series, and the following year they would
1 Though this figure is slightly lower than the unemployment rate of 10.8% that plagued the recession of the early 1980s,
the long-term unemployment rate of the most recent recession was almost twice that of the 1980s (4.4% compared to
2.6%).
2 Though imperfect, I use the term “classical music” not to describe music from the classical period, but rather to
describe the loose genre of music sometimes confusingly termed “concert music,” or sometimes pretentiously termed
“art music,” and include in the definition of this term contemporary classical music that is often rather vaguely
referred to as “new music.”
3 I did join the bass sections of several semi-professional symphony orchestras on a number of occasions.
1
premiere a song cycle I had composed for an operatic mezzo-soprano accompanied by jazz piano
trio and string quartet. By all expectations, it appeared that 2008 would be a fruitful year; I had a
busy tour schedule planned with a number of groups, including a gyspy-jazz-bluegrass ensemble,
an alt-country-rock band, a folk and blues duo, and my own solo work performing songs from the
album I had just recorded. Though as the saying goes, plans are meant to be broken.
The year began well with a few regional weekend dates and a recording session in
Lexington, Kentucky, for which the airplane tickets had been bought and contracts negotiated
months before. Upon returning home, I embarked on a series of tours throughout the western
United States. As is customary, the bookings had been arranged several months previously, and the
economic viability of the tour had been based on projected income versus projected costs. The
income turned out to be roughly as expected, but the costs turned out to be well above the
projections. The main culprit was the quickly rising price of gasoline; between February and July
2008, the average price for a gallon of gasoline in the United States rose from $3.08 to $4.11 (U.S.
Energy Information Administration).4 For a musician whose income depended on driving a
hundred miles or more every day, gasoline (or diesel fuel) was an unfortunate lifeblood, and the rise
in costs had detrimental effects.5
There is another saying that goes: if you don't have much, you don't have much to lose.
4 The price of fossil fuels, of course, has had a momentous impact on the modern economy in many regards. The peak
price of gasoline in 2008 simply illustrates how those of us who began working as travelling musicians in 2002 (or even
earlier), when the average price of a gallon of gasoline was $1.42, were unprepared for a changing business model.
5 It should be noted that various groups were more and less dependent on the price of gasoline. The size of the ensemble
and our instruments dictated the size of the vehicle in which we travelled. When working with a four piece band,
including drums, travelling with a tour manager and a sound engineer, we rode in a gas guzzling bus outfitted with
sleeping bunks, a “living room,” and a refrigerator. When working as a duo performing on acoustic instruments and
small amplifiers, however, we could travel in a relatively fuel efficient station wagon, provided that we could find
inexpensive or free accommodations. More often than not these differences in luxuries of travel corresponded to
increased revenue at the gig.
2
While I put my belongings into storage to avoid paying rent while on the road, I watched news
stories of people losing their houses because their mortgages were beyond their reach. I watched my
parents' retirement savings evaporate as they turned sixty-one, only a few years from quitting time.
I watched as the dreams of so many people disappeared and a generation was taken by a feeling of
fear and helplessness. By September, I had enrolled in a graduate program to study music
composition, finding both a relatively steady method of income and a non-commercial relationship
with making music. It took a little longer than I had anticipated to save the money needed to release
the album that I had created in New Mexico, but when I did, in 2009, several of the reviews
appeared to retroactively foreshadow my turn back to classical music. One critic noted that I
“seem[ed] less like a folk musician and more like a folk composer” (Williams 2009), while another
called the penultimate track of the record “the best non-country country song [he'd] ever heard”
(Koutsoutis 2009).
1.2 Early Commercialization of Roots Music and The Great Depression
In 1923, Okeh released the first commercial 'hillbilly'6 record, which captured Fiddlin' John Carson
performing “The Little Old Log Cabin in the Woods” and “The Old Hen Cackled and the Rooster's
Going to Crow.”7 The tremendously positive reception to Carson's record caused a wave of
recordings by Okeh and other record companies ready to capitalize on the newly popular 'hillbilly'
6 The term “hillbilly” was not always a preferred descriptor of the music by those who performed it, though it was the
most common genre name used by those who sold it. Several other terms including “old-time” and “old-familiar”
were used before the term “country” music came into wide acceptance in the mid-1940's (Malone 1993: 7). “Old-time”
or “old-timey” are terms that are commonly used today to describe this genre of music.
7 In fact, a year before Carson's recording was made, Ick Robertson travelled to New York from his home in the rural
south for a recording session. Though these recordings were likely the first documented example of “hillbilly” music
on phonograph recording, the unadvertised and poorly marketed recordings were largely forgotten and less
influential to commercial trends than Carson's (Malone 1993: 74-75).
3
music, not unlike the previous rush to record African-American artists following the 1920 release of
Mamie Smith's “Crazy Blues” (Lornell 1994: 77). Largely using mobile recording studios, many
record companies travelled throughout the southern United States to collect recordings for
commercial release. Musicians from the greater region would congregate in each town where a
record company would temporarily set up shop. The resulting dissemination of vernacular music
through records and radio broadcasts gave rural people in the United States for the first time an
awareness of both unique regional differences and overarching similarities in their folk musics
(Rosenburg 2005: 19). This awareness allowed geographically isolated people to situate themselves
as part of a larger community, and this sense of community would become crucial to surviving the
hardships of the next decade.
Following the stock market crash of October 1929, the American economy plunged into the
Great Depression, and the recording industry did not escape its impact. Record sales dropped,
hitting a low point in 1933, and several record companies went bankrupt (Rosenburg 2005: 26).
Many early 'hillbilly' musicians from this era produced only a couple records before returning to
non-musical employment and a non-commercial relationship with their music making (Lornell
1994: 81). The folk genre, however, remained quite fashionable. The 1930's were the height of
popularity for cowboy music, a relationship that Bill Malone attributes to the “renewed
consciousness of and search for roots inspired by the Great Depression” (Malone 1993: 90-91).8
While popular music of the day escaped into a world of fantasy dominated by a luxurious New
York lifestyle (Ford and Henderson 1994: 296), Depression-era country music centred thematically
8 Malone also goes into greater depth earlier in the work linking the styles of cowboy music and mountain music to the
hillbilly genre, and this connection forms the thesis of Singing Cowboys and Musical Mountaineers: Southern Culture and
the Roots of Country Music.
4
around disappointment and tragedy. As Neil Rosenburg points out, “these were hard times, and the
stories told by the songs were sad but true” (Rosenburg 2005: 27).
1.3 Hard Times and “Hard Times Come Again No More”
The mid-nineteenth century saw its share of economic turmoil as well, often marked by anxieties
similar to those that characterized the Great Depression. In 1854 an economic panic resulted from
the failure of the Knickerbocker Savings Bank, causing a run on several banks in New York City (O
Grada and White 2003: 218). That same year, two notable works of art shared similar titles: Charles
Dickens' serialized novel Hard Times and Stephen Foster's song Hard Times Come Again No More.
When the American historian Studs Terkel compiled an oral history of the Great Depression
in 1970, he included an interview with a 14-year-old boy living on the streets of Chicago. The boy
told Terkel:
“It's so damn hard. Seems like everybody's takin' advantage of you. See, I
never heard that word 'depression' before. They would all just say 'hard
times' to me. It is still.” (Terkel 1970: 211)
Terkel titled his work Hard Times: An Oral History of the Great Depression. Though the Great
Depression is now a story of the history books and we are experiencing a recovery from the most
recent recession, it is impossible to deny that these hard times have and will come again. It is in
acknowledgement of that cyclical nature, and perhaps in acknowledgement of a similar cyclical
nature that has brought me back to classical music, that I title this piece of original music Hard Times
Come Again.
5
Chapter 2: Influences and Precedents
2.1 A Polystylistic Approach
“The polystylistic tendency has always existed in concealed form in music, and continues to do so,
because music that is stylistically sterile would be dead” (Schnittke 2002: 89). Indeed, music (like
any art form) continues to grow and progress because those who create it are continually stimulated
by new devices and techniques. As composers, we cannot ignore the music that has come before us;
but we also cannot ignore that which exists around us. For better or for worse, I feel influenced by
nearly every music that I have ever heard in my life, for it has shaped, however subtly, what I
experience as music. This definition of the concept renders polystylism in a diverse and interactive
world as inevitable.
A more useful definition of polystylism, however, might also address how an artist's use of
multiple styles (whether intuitive or calculated and whether from across genre boundaries or varied
dialects within a genre) in a work reflects the artist's lived musical experience rather than simply
influences based upon exposure. The degree to which many modern composers consider
polystylism a priority rather than an inevitability makes a further discussion of this relationship
between influence and experience a worthwhile endeavour.
My personal musical history has been multifaceted, and many composers coming to
maturity in the age of Youtube and Spotify may empathize. The access to an unprecedented amount
of recorded music is an overwhelming characteristic of our era. My musical experience, however,
goes beyond simply being exposed to (and perhaps being an avid listener of) a wide array of music.
As a performer, I have participated in symphony orchestras, rock and roll bands, jazz combos,
6
bluegrass sessions, and hip-hop jams.9 When I entered graduate studies in music composition, I
began focusing on writing in a genre that I had practically ignored for the previous six years of
being a working professional musician. In the journey towards finishing a doctoral degree in music
composition, I have sought to fully harness my personal voice, one that allows the multiplicities of
my musical life to emerge in my compositions. Schnittke's concept of polystylistic methods, both
quotational and allusional (and what he refers to as a hybrid of the two), draws a distinction
between the composer's voice and an “alien” style. This particular sense of otherness cannot
resonate to a composer who composes polystylistically because various styles legitimately live
within himself. Rather than considering my emerging10 compositional voice as a fusion of
influences, I prefer to imagine my voice as a distillation of experiences. After all, a melting pot
simply mixes substances together, while a still is selective in which elements it extracts. John Zorn
addresses the question of polystylism aptly when he says: “Composers don't think in terms of boxes
and genres. They just do what they do, and they love good music” (McCutchan 1999: 163).
The polystylistic approach that I have pursued in Hard Times Come Again, however, goes
beyond the intuitive use of a personal voice informed by an eclectic musical life. While each
movement in the song cycle certainly exhibits that subconscious sense of polystylism, there is a
larger intentional polystylistic approach that exists across the movements. Referencing sub-genres
of both folk music and classical music (among them bluegrass, old-time, honky-tonk, minimalism,
9 As I write this chapter, even, I periodically step away from my computer to practice on the double bass that stands in
the corner of my studio. I do not play to prepare for an upcoming performance or to actively improve my technique
but just to gather my thoughts, and so I alternate between pieces that are comfortable and familiar to me: the
“Menuet” from Bach's 1st Cello Suite, Rodgers and Hart's “My Romance,” Bob Marley's “Dem Belly Full,” and the
traditional Irish jig “The Blackbird,” among other repertoire.
10 I hope that I will continue to consider my voice as emerging for the length of my career as a composer, for that
perspective signifies the fortunate attitude of personal and artistic growth.
7
and jazz), the musical styles of the songs reflect the various emotions expressed in the lyrics,
including romanticism, simplicity, suffering, relief, guilt, and acknowledgement. This more collage-
like approach to multiple styles is used to reflect the diversity within the narrative of the Great
Depression, for in the words of Charles Jencks, “master narratives become impossible in a scientific
age” (Jencks 1989: 36). In broad strokes, the musical style of the piece could be described as a fusion
of folk music and classical music, but this view would be overly simplistic. Since the process of
defining styles, crucial to defining their fusion, becomes more troublesome than the process of
identifying their influence, I will discuss Hard Times Come Again by indicating musical sources of its
elements rather than describing how it joins disparate musical genres.
2.2 What is folk music?
“Facile categorizations . . . are always problematic on closer view, of course, and 'folk' and 'classical'
are amongst the most problematic of all” (Gelbart 2007: 1). Gelbart's idea that the transition from
function to origin as a primary distinction in characterizing musical genre, which he dates back to
the eighteenth-century, is important in explaining our current conceptions of folk and classical
music. Compare, for example, a contemporary performance of two tunes on a violin: “Sally Ann
Johnson” and a “Gavotte” composed by Jean-Baptiste Lully. Many modern listeners might place
these two tunes into different genres: folk music and classical music, respectively. Both tunes,
however, share the function of being accompaniment for dancing, and Gelbart's argument would
have a seventeenth-century listener placing these two tunes into the same genre. While Gelbart's
research provides an insightful history as to how origin has come to replace function in the
8
conception of musical genre, it is also important to consider briefly how views towards the genre of
folk music have changed over the past century. The study of folk music has gradually expanded to
encompass more ideas of what the 'folk' actually accept as folk music rather than simply what the
folklorists have defined as folk music.
Some of the earliest studies of English language folk song, from the mid-nineteenth century,
were conducted through the lens of historical literature, equating ballad singing as a lifeline to
ancient poetry. This viewpoint can be seen in the scholarship of Francis Child, particularly his
collection English and Scottish Ballads, in which he published only the words to folk songs complete
with poetic line counts. Twentieth-century folklorists, however, began to contemplate folk song as a
living art form rather than simply as a link to the past, as D.K. Wilgus puts it: “the folk speaketh, not
spake” (Wilgus 1959: 54). Thus, early North American11 folk song studies focused more on the
expressions of the present day folk than on the link to their ancestors' expressions. They did,
however, still place a heavy emphasis on poetic value. John Lomax's first collection, Cowboy Songs
and Other Frontier Ballads from 1910, refers to the “Homeric quality [of] the cowboy's profanity”
(Lomax 1927: ixxx), and though he does notate a handful of tunes the bulk of the work is text. Cecil
Sharp dutifully notated tunes while collecting folk songs throughout the Appalachian region in
1916, including musical notation for each song in his publication; but he, too, comments that many
of the songs “contain all the essentials of genuine poetry” (Sharp 1960: xxx). As technological
advances allowed portable tape machines to be brought along on song collecting trips, field
recordings allowed for further analysis of musical style, and the focus of folk song studies shifted
11 In this context, and unfortunately many contexts, the term “North American” refers more to the European colonizers
of North America than to the indigenous people of North America.
9
from the text to the music. The system of cantometrics, developed by Alan Lomax (John's son) in the
early 1960s, formed an influential, if controversial,12 tool for comparing the musical style of folk
musics around the world through 37 musical categories that sought to describe elements of melody,
rhythm, harmony, and timbre (Lomax 2003: 252-254). As folk music has continued to evolve
alongside the folk that make it, the conception of what folk music is and how best to discuss it has,
likewise, continued to evolve.
In 1954 the International Folk Music Council offered this definition of folk music:
“Folk music is the product of a musical tradition that has been evolved
through a process of oral transmission. The factors that shape the tradition
are: (1) continuity which link the present with the past; (2) variation which
springs from the creative impulse of the individual or the group; and (3)
selection by the community which determines the form or forms in which
the music survives. The term does not cover composed popular music that
has been taken over ready-made by a community and remains unchanged,
for it is the refashioning and recreation of the music by the community that
gives it its folk character.” (quoted in Grunning 2006: 10)
Oral transmission is a common inclusion in the definition of folk music, but other less formal
definitions of folk music often additionally include the characteristic of anonymous origin. Both of
these features are worth examining in part because of the discrepancy that they create in the
conception of folk music by the folk who participated in these musical traditions as compared to the
folklorists who studied the traditions.
The concept of anonymous origin is especially problematic. Even those pieces of music
passed through generations began at some point as a composition, whether that composition was
intentional or improvised. “Lyrics are developed by individuals, and so are music and styles of
12 The system was not without its flaws, including its “failure to critically challenge mechanistic cultural determinism,
Eurocentric views of human cultural evolution, and Orientalist legacies” (Averill 2003: 245), which has caused
relatively few ethnomusicologists to adopt the system of coding.
10
instrumentation. Earlier music became 'traditional' only through 'discovery' by urban
intellectuals. . . . the people have always had their gifted poets, bards, and minstrels” (Gritzner 1994:
305). The requisite of anonymous origin only acknowledges that the author is not known, not that
the author is not a single individual. In the concept of folk music being formed by a community,
anonymous origin seems to be unimportant, as it does not address the particularly relevant criteria
of being shaped and recreated by a community. Furthermore, instances of singularly composed
songs being adopted into the folk music repertoire, and changed by various communities, are quite
common. Though of little value to the Child-ballad scholars, many songs ordinarily referred to as
traditional songs at contemporary jam sessions were composed by a singular person.
“Grandfather's Clock” by Henry Clay Work, “The Old Rugged Cross” by George Bennard, “The
Baggage Coach Ahead” by Gussie Davis, and “Mid the Fields of Virginia” by Charles Harris are just
a few of the examples, as Bill Malone points out.13 He goes further to discuss how these tunes were
often re-imagined and reclaimed by the folk by “omit[ting] those words and chord progressions
that seemed needlessly 'fancy' or superfluous,” what he characterizes as the 'folk' having
“'democratized' the songs, making them more singable and acclimated to the sensibilities of the
folk” (Malone 1993: 60).
The concept of anonymous origin has further complications in the modern era, which
revolve around the emergence of folk music as a commercial category and as a genre of original
creation. Following the folk revival of the 1960s,14 many artists that largely performed original
13 I have even heard jam session participants refer to Ola Belle Reed's composition from the 1970's, “High on a
Mountaintop,” as a traditional song, and Stan Rogers' “Barrett's Privateers,” from the same era, is often similarly
confused.
14 This era is often referred to as 'the' folk revival; however, considering the commercialization of folk music through
recordings in the 1920s, what occurred in the 1960s might be seen as a second folk revival. A third folk revival in North
America was seen in the wake of the 2000 release of Joel and Ethan Coen's film Oh Brother, Where Art Thou.
11
material, such as Bob Dylan, Joni Mitchell, Townes Van Zandt, and Phil Ochs, were labelled as folk
musicians. That label continues to be widely relevant at the time of writing, as exhibited by the fact
that the Canadian Folk Music Awards include two categories for songwriter of the year (one in
English and one in French). Even 2014 nominees for “Traditional Singer of the Year” Kim Beggs and
Sarah Jane Scouten sing largely original music (Canadian Folk Music Awards 2014). It is quite
evident that in the contemporary era, the 'folk' acknowledge not only traditional music, but also
originally composed music as folk music.
The issue of oral transmission is also problematic in the modern age, and some scholars have
amended 'oral' to 'aural' to include an era in which sound recordings are widely available. While
this sufficiently addresses the fact that many folk musicians (myself included) have learned some of
their repertoire from recordings rather than in-person, it does not entirely solve the problem. The
folk revival of the 1960s created such an interest in folk music that it also spawned an industry of
instructional records and books that have continued into the next century. As early as 1955,
Folkways Records released Pete Seeger's instructional record The Folksinger's Guitar Guide. The liner
notes include extensive instructional material such as lyric and chord charts, drawings and
diagrams, and songs notated in tablature (Seeger 1955). Homespun Tapes began producing
instructional materials in 1967 and continues to put out video, audio, and written instructional
material at the time of writing (Homespun Music Instruction). In the late twentieth-century and the
twenty-first-century, then, many folk musicians have learned their trade not from an oral
transmission of traditional song, nor necessarily from an aural transmission of recorded song, but
often from written materials.
12
A quick survey of the schedules of any of the dozens of folk festivals that occur every year in
North America will reveal that the definition of folk music has, perhaps, never been more nebulous
as it is in the present. As Bruno Nettl points out, “the homogeneity of modern American life, and
particularly the prominence of radio, television, and the recording industry, has also homogenized
musical life to the extent that the old tripartite view of music (art, popular, and folk) has lost much
of its meaning” (Nettl 1990: 258). Since a complete exploration of the history and current state of
North American folk music is beyond the scope of this discussion, I will use the term 'folk music' to
include both traditional music of anonymous origins along with individually composed music, as
well as music transmitted both orally and through recordings. As a result, my definition of 'folk
music' will resemble what many refer to as 'roots music,' as it will additionally include other genres
either encompassed within folk music (such as blues) or evolved from folk music (such as
bluegrass).
2.3 Some Characteristics of North American Folk Music
In order to aid the discussion of how various influences of folk music can be seen in Hard Times
Come Again, as well as other pieces of music that have shaped my creative process, it is useful to
identify some characteristics of North American folk music. I will address particular musical
characteristics that have most influenced my creative work, including acoustic instrumentation,
generally tonal harmonic and melodic structures, consistent pulse, regular metrical structures, and
vocal and instrumental performance styles, as well as specific deviations from these norms
commonly found within the tradition. A wide diversity of musical traits can found in folk music
13
traditions throughout North America, and further diversity can be seen by examining the
differences with which these traditions are engaged by amateur and professional music making
communities. Focusing on the music that has most influenced Hard Times Come Again this
discussion will primarily pertain to characteristics of traditional folk music from the Appalachian
region as well as certain commercialized genres of music that have evolved from that folk music
(such as bluegrass, country, and honky-tonk).
The instruments used in American folk music are, like most folk musics, primarily acoustic
instruments. Stringed instruments are the most common, and a variety of them are utilized,
including fiddles, guitars, banjos, mandolins, and dulcimers. Bill Monroe's Bluegrass Boys
established the typical quintet instrumentation of the bluegrass genre: guitar, banjo, mandolin,
fiddle, and string bass. Country groups have often included electric guitar in addition to, or in
replacement of, the acoustic guitar and have also augmented the instrumentation to include a drum
set. Several instruments played in the manner of a slide guitar, including the dobro, lap steel, and
pedal steel, have also joined country and honky-tonk bands. The piano is less common, but present
in some country and honky-tonk groups, though generally absent from bluegrass and old-timey
ensembles. In Hard Times Come Again I explore augmenting the traditional bluegrass
instrumentation with an expanded, more 'classical' bowed string section consisting of two violins
(or fiddles), a viola, and a cello.
Much of American folk music, not surprisingly, is stylistically similar to the folk musics of
the English and Scotch-Irish people that colonized the Appalachian region of North America.
Melodies are often diatonic using mostly triadic harmony in their accompaniment, and songs are
14
unlikely to include change of tonal centre.15 Phrasing is often symmetrical, and pulses are generally
divided into two equal parts.16 American folk music, however, has developed its own characteristics
and, as Bruno Nettl points out, includes “more melodies in major, fewer pentatonic tunes, more
songs in duple metre, and less use of accompaniment” (Nettl 1990: 267) than British folk music.
North American folk music could be deceptively characterized as harmonically basic;
Charles Seeger and Ruth Crawford Seeger have observed that “traditionally, few chords are
required to accompany any one song” (Seeger and Crawford Seeger 1966: xviii), an influence that
can be seen in Hard Times Come Again through substantial sections of the music utilizing only tonic,
subdominant, and dominant harmonies. There are some unusual vertical alignments present in
North American folk music, however, that challenge this sense of simplicity. In her study of the
fiddle-song tradition of West Virginia, Erynn Marshall finds instances where “the third and the
seventh scale degrees of the song are often a semitone apart” (Marshall 2006: 151). These periods of
dissonance, which do tend to resolve, add a level of vertical complexity that cannot be adequately
characterized by the chord symbols in many folk-style songbooks. Furthermore, Marshall finds
appearances of 'blue notes' in West Virginian fiddle music; “the third, the seventh, and occasionally
the tonic are microtonally changed” (Marshall 206: 151). Her observations show that while the
music may seem diatonic at face value, there are more complex tonalities in play, and I explore this
interplay between diatonicism and chromaticism most clearly in “This Is What Happened,” the
second song in Hard Times Come Again.
15 Notable exceptions to this include songs which switch between relative major and minor modes. This tonal structure is
especially found in two-part fiddle tunes, such as “Blackberry Blossom,” where one section resides in the major mode
and the other section begins in the minor mode but ends in the major mode.
16 Again, there are exceptions here. Compound metres are found in 6/8 tunes, though the 9/8 slipjig, common to Irish
fiddling tradition, is rare in North American folk music.
15
The illusion of rhythmic simplicity is also present in some discussions of American folk
music. Part of this illusion might be attributed to the fact that many of the song books that
transcribe American folk songs are prescriptive rather than descriptive in nature. This method of
notation might render a song's rhythms rather plain on the page that are, in practice, quite varied
and complex. Ruth Crawford Seeger acknowledges this in her analysis of American folk song when
she writes that “folk singers habitually divide beats and measures in . . . highly irregular ways. . . .
Some of these are simple enough to be allowed inclusion in a singing book of this sort; many were,
of necessity, excluded” (Crawford Seeger 1941: 61). Much of the presentation of simplicity in
American folk rhythms, then, seems 'necessary' because the folklorists don't believe that the 'folk'
are capable of reading the rhythms that come naturally to them.17 Of course, the other benefit of
prescriptive notation is that it allows each performer to adapt and alter the performance of the piece
to suit their own personal interpretation.
While prescriptive notation explains some of the confusion around the perception of
rhythmic simplicity in American folk music on an intra-phrasal level, there exists a more complex
rhythmic structure on an inter-phrasal level as well, which I explore in several songs in Hard Times
Come Again including “It Was Rough Going” and “Three-Hundred-Twenty Acres.” I can recall
musicians in jam sessions referring to certain tunes as 'crooked;' this meant that the phrasing of the
tune either added or dropped a beat (or two, depending on one's sense of the pulse18) from the
regular symmetrical phrase. This is true of instrumental tunes like “Clinch Mountain Backstep” that
17 The 'folk' might not necessarily dispute their inability to read certain musical notation, at least on a personal level. I
can recall at least one conversation with a friend, much more commercially and popularly successful than I, who
responded to the charge of illiteracy (not from myself, but from a well-known American composer) with indifference.
18 Because folk music is, for the most part, an unwritten music there are often discrepancies among players as to what
constitutes one pulse.
16
include mixed metres. Ruth Crawford Seeger goes further to identify vocal songs, such as “Po'
Lazarus” and “Johnny Stiles,” that prolong or contract the phrase metrically, contravening the
symmetry of the tune's phrasal construction (Crawford Seeger 2001: 55). In each of these examples,
a notable characteristic of the metric irregularity is that it occurs at phrase endings or beginnings.
While Crawford Seeger does illustrate instances where certain words are prolonged in the middle of
a phrase, these words do not appear to be haphazardly chosen by the singer; rather, they seem to
illuminate a grouping structure made of sub-phrases within the phrase. Furthermore, these
prolonged notes seem to differ from the use of a fermata in a classical score, for one rhythmic
characteristic of American folk music is a steady pulse which “holds strictly to a tempo, once it is
started” (Seeger and Crawford Seeger 1966: xviii). This element of consistent pulse is evident
throughout Hard Times Come Again, with only a few specific exceptions which I will discuss further
in Chapter 3.
Though these aforementioned complexities of rhythm and harmony are surely present in the
genre of American folk music, it is probably wise not to overemphasize their prevalence. While it is
certainly easier to identify the unusual than the usual, it is more likely the usual that sustains the
genre. Ruth Crawford Seeger struggled with this conundrum in her studies of American folk music
style:
“As a professional musician, my inclination was to ask: How 'different' is
this song? Does it contain irregularities which set it apart as something
unusual, unique? These questions I could answer without difficulty. But . . .
their opposites were not so easy. . . . How 'nice and common' (in one singer's
words) is it? Of that sort of commonness which keeps a thing alive and
growing? And where lies the dividing line between the common and the
commonplace?” (Crawford Seeger 1941: xvii-xviii)
17
Like the subtle shifts of hypermeter in a Beethoven symphony, these complexities are irregular
occurrences that contribute to the overarching dramatic tension of the genre, subverting our sense
of expectation not continually, but occasionally. And when these complexities are found, they tend
to avoid the laboured sound of some modernist compositions in favour of a sense of ease. As
Amanda Petrusich puts it, “good functional folk songs are . . . effortless to sing” (Petrusich 2008:
165).
Putting styles of musical construction aside for a moment, it seems important to address
styles of sound production, particularly singing. American folk singing differs from classical singing
in aspects of timbre and word emphasis. Many folk singers seem to place little importance on the
clear, open vowel sounds that predominate the 'bel canto' style of classical singing. In fact, among
folk singers, if one's voice sounds “reedy or nasal, so much the better” (Crawford Seeger 1941: xx).
Likewise, clear, crisp enunciation of syllabic boundaries can be masked by more natural speech-like
pronunciation that might replace a written consonant with a sounded glottal stop, as in the word
'button,' for example. While not evident from the notation of the score in Hard Times Come Again, it
is my expectation that the singers will adopt this approach to timbre and pronunciation.
One particularly notable characteristic of American folk singing that distinguishes it from
classical or popular singing, that can be seen reflected in the score to Hard Times Come Again through
the sparsity of dynamic markings, is the lack of dramatic interpretation. In her suggestions for using
Our Singing Country as a songbook, Ruth Crawford Seeger instructs the potential folk singer: “Do
not sing 'with expression,' or make an effort to dramatize” (Crawford Seeger 1941: xix). Neil
Rosenberg documents that this style of singing carried over into the early commercial 'hillbilly'
18
recordings, noting the “impersonality of delivery” and the fact that the “dynamics of the story were
not carried over into the dynamic of singing; a humorous novelty item was performed in basically
the same way as a serious sad song” (Rosenberg 2005: 22). Common examples of this discontinuity
between subject matter and musical style can be seen in the sub-genre known as 'murder ballads,'
which often combine stories of cold-blooded killing (sometimes of a loved one) with major key
melodies and medium- or up-tempo bouncy rhythms.19
Styles of sound production as they pertain to instruments besides the voice are worth
mentioning as well. Mandolins, not unlike their use in the classical style, are customarily played
with a plectrum, while string bass (not a traditional folk instrument, but common enough in folk
and folk-derived ensembles today) are generally played pizzicato. Guitars, which are usually
equipped with steel strings, are often played with a flatpick, though sometimes played in the
fingerpicking style, with or without fingerpicks (plectrums that attach to the fingers of the right
hand). In Hard Times Come Again, the mandolinist and guitarist are asked to play with flatpicks,
while the bass part includes both arco and pizzicato sections.
Banjos20 are played in two methods. The old-time clawhammer21 style, in which I write the
banjo material for “Three-Hundred-Twenty Acres,” involves a three stroke pattern that includes a
stroke with the back nail of the index (or middle) finger followed by a light strum (or brush stroke)
by all the fingers and finished with a stroke by the flesh of the thumb (usually on the short string).
19 “Tom Dula” (or “Tom Dooley) and “Banks of the Ohio” are two good examples that fit these characteristics. Many
other murder ballads, such as “Little Sadie” and “Maddy Groves,” do employ the minor key, but still exhibit a dance
tempo rhythmically.
20 Most common to American folk music is the five string banjo rather than the four string banjo. Many of the traditional
Appalachian banjos were fretless and strung with gut. While these are still played by some banjoists, fretted banjos
strung with steel are now more common.
21 Also variously referred to as frailing, thumping, beating, knocking, rocking, racking, rapping, and whomping
(Conway 1995: 205).
19
The three-finger style of playing, which is popular in bluegrass, involves various combinations of
alternations between strokes using the fleshy side (though often mediated by fingerpicks) of the
thumb, index, and middle fingers. I write large sections of the banjo part for “One of My Father's,”
the third song in Hard Times Come Again, in this three-finger style. The resulting sounds of each style
are further influenced by the short fifth string, which is often used as a drone. This drone effect
combined with the various tuning schemes used in the clawhammer style (useful for playing
melodies with the finger stroke while keeping dissonances in the brush stroke to a minimum)
contributes to the banjo's role in American folk music as “a background of sonority rather than a
sequence of chords” (Seeger and Crawford Seeger 1966: xviii).
Fiddle playing is also worthy of discussion partly because of how the instrument, which is
shared with the classical style, is played uniquely, and partly because of the way that classical music
has in recent years come to influence folk styles of playing. Fiddle playing in the American folk
music style could be considered by some listeners as rough around the edges. Bow technique
displays a set of values regarding sound quality that can result in a scratchiness of tone. Left hand
technique uses little or no vibrato, which minimally masks any discrepancies of pitch. These
inflections of pitch, however, are often used to great effect, especially when combined with an open
string to produce a near unison double stop. Slides and scoops also contribute to the less than exact
orientation to an equal tempered scale of semitones.
In recent years, fiddle playing has become a concert and contest art in addition to a
community activity as accompaniment to song or dance. This change in context has impacted the
playing style of some fiddlers; imprecise intonation and tone that might be considered abrasive by a
20
typical symphony-goer are less frequently considered acceptable practices among a professional
class of fiddlers. Many young, aspiring folk fiddle players are just as likely to drill scale patterns as
a classically trained violinist, and in fact, many fiddle players have had some classical training.
Classical music's effect on folk style fiddle playing has resulted in what Peter Cooke refers to as “the
Westernization of Western music” (quoted in Blaustein 1993: 269), and this effect might be heard in
Hard Times Comes Again by the bowed instruments often sounding the most 'classical.' An increase
in virtuosity among folk musicians is clearly not limited to fiddle players; the past several decades
have seen guitarists, mandolinists, and even bassists of extraordinary skill elevate the technical
standards of their instruments. Nor is this trend unique to folk music, as similar trajectories can be
seen in jazz and classical music. Exceptionally significant about this transformation in folk music,
however, is not only the way it has changed stylistic elements of the genre, but also how it has
created an exclusive elite rank of professional performers within a genre that is often characterized
by its widely inclusive and amateur nature.
This description of North American folk music style is not intended to be exhaustive, by any
means. Rather, it should simply give the necessary background information to understand a
discussion of creative choices that I have made in Hard Times Come Again based on my experience as
a performer in the genre of folk music. Furthermore, this brief discourse should help to create an
environment in which an exploration of the interplay between 'folk' and 'classical' styles can be
initiated.
21
2.4 Folk Music Influences on Composers of Classical Music
The influence of folk music on classical composition is not a new practice. Many early composers
wrote pieces based on the French folk tune “L'homme Armé,” and Mozart wrote variations on the
French folk song “Ah, vous direr-je, maman,” though these examples use folk song more as source
material than as a stylistic guide (a practice that I avoid in Hard Times Come Again). Amidst the
national revivalism of the 19th century, the Bohemian composer Antonín Dvořák, who once said that
“all of the great musicians have borrowed from the songs of the common people”22 (An Interview
with Dvořák 1893: 72), turned to the folk music of his homeland for inspiration.23 The Moravian
composer Leoš Janáček took interest in folk song a step further; in the 1880s he worked with the
folklorist František Bartoš collecting folk songs and analyzing speech patterns of Moravian dialects
(Zemanova 2002: 60). Roger Scrutton finds in Janáček's writings the theory that common chords can
retain their individual identity even when ornamented with added tones or overlapping harmonies,
thus allowing for an advancement of tonality based in a “deep psychology of musical connection”
(Scrutton 2009: 167).24 In 1905, Béla Bartók and Zoltán Kodály began working together to investigate
Hungarian folk song, and their research would yield many transcriptions and field recordings
(Erdely 1983: 51),25 as well as impact their own compositional output.
22 It is interesting to note that Dvořák admitted to not only borrowing from the songs of the common people from his
native Bohemia, but also from African-American melodies, which he called “the folk songs of America” and to which
he encouraged American composers to turn to for inspiration.
23 Bedřich Smetana is often similarly characterized as drawing on Bohemia for inspiration, perhaps mostly notably in Ma
Vlast; however, according to Ralph Vaughn Williams, Smetana “denied that he owed anything to folk music” (Vaughn
Williams 1956: 366).
24 See Michael Brim Beckerman's Janáček as Theorist for a much more detailed discussion of Janáček's theories on musical
perception, including his influential 'moment of chaos' theory.
25 While Bartók is perhaps more popularly known as an early ethnomusicologist (then referred to as comparative
musicology) than Kodály, Kodály's doctoral dissertation, entitled “Strophic Structure of Hungarian Folk Song” had
earned him a Ph.D. from the University of Budapest. An element of Kodály's theories that was particularly forward
thinking at the time was his conception of folk song as “vocal text” where melody and poetry are intertwined and
inseparable (Erdely 1983: 54).
22
Similar to composers from Moravia and Bohemia, North American composers were
saturated with a historical canon of French, German, and Italian music. In the struggle to find a
personal voice that reflected a North American culture, some American composers have also turned
to folk music for guidance. This search for a voice more connected to a composer's specific personal
existence is not unlike my process in Hard Times Come Again of calling upon my lived musical
experience for inspiration. One of the earliest prominent American composers, Edward MacDowell,
turned not to the folk music of European colonizers, but to the music of Native Americans in his
Indian Suite, from 1896. His conception of Native American culture and music was largely
theoretical, however, drawing mostly from Theodore Baker's dissertation entitled On the Music of
the North American Indians (Gardner 2004: 376). Perhaps one of the most unique American
composers, Charles Ives was influenced by a tremendous amount of diverse musical sources,
ranging from European symphonic repertoire to North American folk song. When Henry Cowell,
one of Ives' most dedicated champions, described Ives' authenticity as an American composer by his
use of “folk materials” (quoted in Paul 2006: 406), he was likely referring more to Ives' invocation of
a folkish style complete with out-of-tune pitches, bends, and slides, than to his quotations of
American popular songs, folk songs, and hymns.26 Later American composers would also attempt to
mimic folk music style; Aaron Copland's string writing in Rodeo borrows the melody of the fiddle
tune “Bonaparte's Retreat,” but the orchestral rendition loses the grit of true fiddling.27 Interestingly
enough, Copland's turn to “imposed simplicity” during the Great Depression might be described as
26 It is interesting to note that some of the quoted material in Ives' pieces were popular songs, from minstrel show
repertoire or Stephen Foster's songbooks, that have made their way into the folk music repertoire despite their having
been singularly composed.
27 It is also interesting to note that in another ballet from the era, Appalachian Spring, Copland quotes the Shaker hymn
“Simple Gifts,” which has, in my experience, been treated as a folk song.
23
an attempt to write music that would speak to the common man, the 'folk,' one might say (Crist
2003: 410). Though I use folk idioms in Hard Times Come Again primarily to craft an honest personal
expression, I very much relate to the desire to be communicative that is implied by the use of a more
direct musical language.
In recent years, several American composers have written music that reveals folk music
influences. Quite notable is the music of Paul Elwood. A banjo player himself, Elwood had won the
1986 Kansas State Bluegrass Banjo Competition before receiving his Ph.D. in music composition
from the State University of New York – Buffalo in 1995, where he studied with David Felder28
(Elwood 2014). His piece Stanley Kubrick's Mountain Home, from 2001, combines a Pierrot ensemble29
with a bluegrass band and can be seen as a direct influence to the combination of a string quartet
and a bluegrass band in the instrumentation of Hard Times Come Again. Elwood uses the two forces
as separate entities at first, alternating between the 'classical' musicians and the 'folk' musicians,
with one striking exception; early on in the piece the banjo plays in unison with the vocal melody.30
As the piece progresses the two groups overlap, but their combination brings a chaotic atmosphere
that layers more abstract harmonies from the Pierrot ensemble atop the diatonic tunes of the
bluegrass band.31 While this technique produces a blend of the two sonic worlds, the two ensembles
remain at odds throughout the piece, sounding never coordinated, and the piece ends with a similar
28 Elwood had previously studied with several well-known composers including Donald Erb, Charles Wuorinen, and
Peter Maxwell Davies, among others.
29 The Pierrot ensemble of flute, clarinet, violin, cello, and piano has become a common ensemble for contemporary
classical music. In this piece, Elwood does not employ the doubling from Pierre Lunaire, but he does use a soprano
vocalist.
30 Later on in the piece, the banjo accompanies the vocal melody in a more arpeggiated figure idiomatic to the instrument
along with cello and piano. Considering that Elwood performs the banjo part on the recording, and in many
performances, it is perhaps not surprising that writes himself into more of the piece than the rest of the bluegrass
band.
31 I am quite certain that at least some of the material played by the bluegrass band are arrangements of traditional folk
tunes; one tune appears at the beginning that I distinctly recognize but cannot place the name of.
24
alternation of the forces that began it. Another noteworthy piece of Elwood's is Border Radio X, from
2006, for solo banjo, voice,32 and live electronics.33 This piece draws less on folk styles of
instrumental performance, using bowed banjo for textural effects that are then processed by the
electronic component; however, the piece does invoke folksinging with sung quotations from the
folk song “In the Pines.”
Wayne Horvitz's 2004 composition Joe Hill, 16 Actions for Orchestra, Voice, and Soloists is
another recent example of a concert piece that alludes to elements of folk music. Much of the
instrumentation is rather conventional,34 but the inclusion of an improvising electric guitarist
indicates that the piece was written for specific performers (the guitarist is Horvitz's longtime
collaborator, Bill Frisell). The importance of this aspect of the piece is that one of the vocalists for
whom Horvitz writes is the bluegrass banjo player and singer, Danny Barnes. Barnes' singing, by
nature of his personal style, gives the piece a folk flavour by utilizing the nasal tone and
pronunciation indicative of North American folk music, much like what I ask the singers in Hard
Times Come Again to adopt.
Julia Wolfe's chamber piece Steel Hammer, from 2009, is remarkable for its allusions to folk
tradition in both its subject matter as well as aspects of its musical style. The piece is a musical
dramatization in nine movements depicting the legendary American folk hero John Henry. In the
program notes to the piece Wolfe recalls her admiration of Appalachian music as well as her first
public musical performance, which was on the mountain dulcimer (Wolfe 2014). While the musical
32 The banjo player also performs the voice part.
33 There is no commercial recording of this piece, but the reader can find view a performance by Joti Rockwell played on
mandolin and banjo that has been posted on YouTube at: https://www.youtube.com/watch?v=L72juonnhaU.
34 I have not seen the score, but the recording sounds like a standard chamber orchestra with a small number of winds
and brass.
25
style of Steel Hammer is primarily minimalist with a predilection for driving rhythms and overt
repetition rife with slowly changing variation, Wolfe does weave in musical images that reference
folk styles. In the first movement, entitled “Some Say,” the three female vocalists are asked to
perform grace notes that at times seem to resemble the yodelling characteristic of Jimmie Rodgers
and other country singers. In the second movement, entitled “The States,” Wolfe calls on each of the
instrumentalists to stomp their feet and asks the percussionist, along with the guitarist and
clarinetist, to play body percussion on their thighs and chests. Furthermore, the guitarist is asked to
double on dulcimer and banjo. Interestingly enough, while Wolfe meticulously notates much of the
score, the banjo part is liberally improvised. In “The States” she simply instructs the player to
perform a “banjo riff,” a “bigger banjo riff,” or a “banjo country riff,” while in the sixth movement,
entitled “Polly Ann – The Race,” she instructs the banjo player to begin playing a pattern and to add
variation as the piece progresses (Wolfe 2009). While I have chosen in Hard Times Come Again to
compose specific lines for the banjo based upon my own research into performance styles for the
instrument, I do include sections in the mandolin and guitar parts that have some element of
improvisation which may harness the same sense of naturalness that I presume Wolfe seeks.
The work of composer Dan Trueman is also interesting in its debt to folk music, though as
much to the music of Norway as to that of his native North America. In addition to being active as a
composer of classical music, Trueman is a skilled computer programmer and an avid fiddler. Much
of his work is focused on harnessing new sounds from the violin, and he utilizes the electric violin
to achieve this in several compositions. Additionally, his discovery of the Hardanger fiddle, a
Norwegian folk instrument that includes drone strings, has had a major impact on his purely
26
acoustic work; he has performed on it and composed for it in a variety of ensembles (Trueman
2014). A particularly interesting aspect of how Trueman's experience as composer and performer
interact is the transcriptions that he provides to several of his own recordings; however, a
comparison of the printed version of “Fosclachtha” and the recorded performance of that tune by
Trueman and Brittany Haas displays that stylistic characteristics such as slides, trills, and shakes are
expected to be freely added by any potential performer (Trueman 2014, Haas and Trueman 2012).35
In a similar fashion, though I do not expect performers in Hard Times Come Again to add unwritten
material to the piece, I would not discourage the addition of stylistically appropriate
ornamentation.36
Finally, the work of Matt McBane shows an interesting intersection of classical and folk
music. As a classically trained composer and violinist in the band Build, much of McBane's music
combines the dictated precision of classical music with the frenetic rhythms of rock and roll. His
chamber piece Drawn, from 2013, is notable not for its musical style, but for its instrumentation.
Drawn was composed for and premiered by the Jake Schepps Quintet. Led by Schepps on the banjo,
the group shares its instrumentation with Bill Monroe's Bluegrass Boys, including guitar, fiddle,
bass, and mandolin in addition to banjo. In the first, third, and fifth movements, McBane writes in a
minimalist style that focuses on groove,37 giving each player a carefully crafted role in the
interlocking rhythms that create a swirling, energetic texture. Considering that Monroe's personal
innovation was to create the bluegrass genre out of assigning roles to each instrument in the
35 In some ways this speaks to the state of fiddle culture in North America in the 21st century, where keen fiddlers are
increasingly likely to learn new songs and technical tricks from recordings of international fiddle stars rather than in
person from people in their close communities.
36 This is not unlike compositions that I have written for jazz orchestra, in which lead players of any given section are
invited to guide other members of the band in the stylistic interpretation of the written lines.
37 In the second and fourth movements, McBane uses more atmospheric textures.
27
ensemble, which created a specific groove from interlocking rhythms, McBane's piece seems like a
logical progression for this instrumentation. Drawn sets the groundwork for Hard Times Come Again
by using these instruments in a 'concert' setting as well as by adapting the interlocking rhythmic
qualities of bluegrass to a post-minimalist language.
The course of musical history has shown a fruitful interaction between folk and classical
music, with each influencing the other to various degrees. The result is a current culture in which
one is likely to encounter both classical composers who are also folk musicians and folk musicians
who perform Bach partitas. This diverse and intertwined culture is where my musical life as a
composer and as a performer exists, and this is the context for Hard Times Come Again.
28
Chapter 3: Form and Style in Hard Times Comes Again
3.1 Overall Formal Structure
Composed of seven songs that exist independently, but also contribute to a greater dramatic
momentum when combined, Hard Times Come Again fits best into the song-cycle genre. While the
most overtly shared characteristic across the songs is the subject matter of the text, there are
additional continuities to be found in the tonal centres that form the boundaries between songs, as
detailed in Table 1.
Song
Number
Song Title Approx.
Duration
Instrumentation Beginning
Key
Ending
Key
1 It Was Rough Going 3 min. Baritone, Bass, Mandolin,
Banjo, Guitar, Piano
AM GM
2 This Is What Happened 5 min. Alto, Baritone, Viola, Cello,
Bass, Banjo, Guitar, Piano
AM AM
3 One of My Father's 5 min. Alto, 2 Violins, Viola, Cello,
Bass, Mandolin, Banjo,
Guitar
DM EM
4 I Was Relieved 5¼ min. Alto, Baritone, 2 Violins,
Viola, Cello, Bass,
Mandolin, Banjo, Guitar,
Piano
GM GM
5 Three-Hundred-Twenty
Acres
3½ min. Alto, 2 Violins, Viola, Cello,
Bass, Banjo, Guitar
CM cm
6 I Had a Terrible Guilt 3¼ min. Baritone, 2 Violins, Viola,
Mandolin, Piano
gme bm
7 We Had So Little 6¼ min. Alto, Baritone, 2 Violins,
Viola, Cello, Bass,
Mandolin, Banjo, Guitar,
Piano
e bm DM
Table 1: Formal outline of Hard Times Come Again
The first two songs share the starting key of A major, and the second song's ending key of G major
creates a dominant relationship to the third song's beginning key of D major. Similar shared and
29
dominant relationships between keys of adjacent songs are found between the sixth and seventh
song and the fourth and fifth song, respectively.
Further structural organization can be seen in the varieties of instrumentation and duration
among the songs. Only two songs, the fourth and seventh, utilize the the entire ensemble, while the
remaining songs use various subsets of the ensemble. Furthermore, those songs that use the largest
forces are also the longest in duration. The entire song cycle, then, can be divided into two dramatic
halves that build to climaxes in the fourth and seventh songs, the second climax being the larger of
the two. There are other musical factors besides instrumentation and duration that impact the
perception of musical importance in these two songs as well, but those elements of harmony,
rhythm, and thematic development will be discussed further in later sections.
Each song in the cycle also exists as an individual composition, with its own beginning and
ending, capable of being performed apart from the remainder of the cycle. While the songs combine
to create an overall dramatic arc throughout the cycle, each song has a self-contained dramatic
contour as well. A variety of beginnings and endings are used which exhibit various levels of energy
and definition of commencement or conclusion. The first song, “It Was Rough Going,” for example,
begins clearly with loud, accented chords that establish the rhythmic pulse and tonality
immediately. The fourth song, “I Was Relieved,” by contrast, begins with sustained chords, out of
which the rhythmic pulse emerges. The seventh song, “We Had So Little,” concludes with a soft, but
definite, authentic cadence, while the fifth song, “Three-Hundred-Twenty Acres,” culminates in a
half cadence that insinuates a feeling of uncertainty. Each of these individual forms seeks to
complement the expression of the text, which constructs the dramatic tension of the piece through a
30
series of vignettes rather than an overarching narrative.
3.2 Lyrical content
Each song in Hard Times Come Again takes its text from a poem constructed of quotations from Studs
Terkel's work of oral history Hard Times. Terkel examines the Great Depression through interviews
with various people, some famous, some unknown, some who had lived through the Depression,
and some who had heard about it from family members. The resulting work is a book that avoids a
greater narrative in favour of a series of glimpses into what life was like during the Great
Depression, and Hard Times Come Again works in much the same way. Each song addresses one
perspective of life during the Great Depression, and while the seven songs build upon each other to
offer a wider view of the era, a tightly intertwined narrative is avoided.
Developing the lyrical content of Hard Times Come Again was a multi-step process. Figures 1,
2, and 3 exhibit the process of arriving at the lyrical content for “Three-Hundred-Twenty Acres.”
After having digested Terkel's work through several readings, I compiled a list of quotations from
the text. I subsequently selected fragments of quotations that shared similar themes, emotions, or
perspectives and grouped them together, as shown in Figure 1.
“320 acres of farm land, fine land, that my uncle owned and cleared, he lost it.” (Terkel 1986:
214)
“Men in the theater, whom I'd known, who had responsible positions. Who had lost their jobs,
lost their homes, lost their families. And worse than anything else, lost belief in themselves.
They were destroyed men.” (Terkel 1986: 381)
“Even the good year was no good . . . . The most valuable thing we lost was hope. A man can
endure a lot if he still has hope.” (Terkel 1986: 230)
Figure 1: Quotations from source text
31
Finally, I arranged these fragments into a poetic form,38 as shown in Figure 2.
Three hundred twenty acres of farm land,
fine land,
my uncle owned and cleared.
He lost it.
Even the good year was no good.
Men whom I'd known who had lost their jobs,
lost their homes, lost their families. And worse
than anything else lost belief in themselves.
They were destroyed men.
A man can endure a lot if he still has hope.
Three hundred twenty acres of farm land,
fine land,
my uncle owned and cleared.
The most valuable thing lost was hope.
He lost it.
Figure 2: Quoted fragments in poetic form
When composing each song, I treated each poetic text as I would any poem, liberally repeating
words and occasionally reordering words or phrases, as exhibited in Figure 3.
38 Occasionally, phrases were slightly changed through the omission of a word or two, but in most cases larger fragments
remained entirely intact. In only one instance did I decide, on Simmers' advice, to change a word from the original
citation; the second song uses the term “juke joint” rather than “gyp joint,” which appeared in Terkel's interview, to
appeal to a modern, more politically correct audience. In this case, I believe that the adjusted version still captures the
imagery of the original description.
32
Three-hundred-twenty acres of farm land, fine land, my uncle owned and cleared,
three-hundred-twenty acres of farm land, fine land, my uncle owned and cleared.
He lost it.
Even the good year was no good.
Men whom I'd known who'd lost their lobs, lost their homes, lost their fam'lies.
And worse than anything else, lost belief in themselves.
They were destroyed,
they were destroyed,
they were destroyed men.
A man can endure a lot if he still has hope.
Three-hundred-twenty acres of farm land, fine land, my uncle owned and cleared,
three-hundred-twenty acres of farm land, fine land, my uncle owned and cleared.
He lost it.
Men whom I'd known who'd lost their jobs, lost their homes, lost their fam'lies.
The most valuable thing we lost was hope.
Figure 3: Lyrics as they appear in the song
Throughout these steps I worked closely with Canadian poet Bren Simmers to ensure that each
poem and each song would exhibit the carefully thought-out choices of a trained wordsmith. One
feature of this process that contributes to the absence of a single narrative throughout the work is
the fact that each song contains pieces of several different interviews. Though the text was crafted
by two people, it consists of the voices of more than two dozen.
An additional aspect of this process that befits a piece drawing influences from both folk and
classical music is that the text is, by nature, folksy. Though the typical definition of the 'folk'
emphasizes the 'common' person over the elite, the lyrics to these songs epitomize the language of
the 'folk' by their conversational tone regardless of the identity of the original speaker. These lyrics,
however, are also the result of careful construction; bulky and intellectual words and phrases are
avoided by choice as much as by availability. Consequently, this method might have more in
common with classical music's highly constructed manner than folk music's looser, sometimes
33
improvised, demeanour. The dichotomy that arises from simple, folksy language that is rigorously
chosen and arranged falls into step with the duality of the music that invokes both folk and classical
styles.
3.3 Instrumentation and Performance Considerations
A further element that overtly alludes to both folk and classical idioms is the instrumentation for
which Hard Times Come Again is composed. The score calls for eleven musicians consisting of two
singers (a baritone and an alto), a string quartet (two violins, viola, and cello), double bass,
mandolin, banjo, guitar, and piano. The mandolin should be a folk style mandolin (either A-model
or F-model) rather than a classical mandolin, and the guitar should be outfitted with steel strings
and played with a flatpick. By combining folk instruments (guitar, banjo, mandolin) with classical
instruments (piano, viola, cello),39 the ensemble offers sonic references to both styles of music. The
ensemble, however, also includes an element of continuity, for all the instruments (besides voice)
produce sound from vibrating strings.
In assembling an ensemble to perform Hard Times Comes Again, I expect to encounter certain
challenges. The piece requires three musicians (mandolin, banjo, and guitar) that should be able to
play convincingly in the folk and bluegrass styles. In my experience, those musicians who can play
in this style and also read traditional notation are less common, though they do exist. For this
reason, I anticipate that these players might learn the music in one of two alternate methods. The
first method would involve written notation that utilizes tablature rather than traditional notes, as
39 To be fair, this categorization of folk instruments and classical instruments is overly simplistic, for it does not account
for artists such as Bela Fleck or Chris Thile who play Bach on the banjo and mandolin, respectively; nor does it account
for artists such as Nancy Blake or Rushad Eggleston, who play folk (and folk-derived) music on the cello. Additionally,
this ensemble includes instruments such as violin/fiddle and voice which are commonly found in both styles of music.
34
shown in Example 1.
Most players of the mandolin, banjo, and guitar who are comfortable playing in the folk and
bluegrass tradition would be familiar with this notational method, and tablature has the added
benefit of specifying where certain notes should be played on the fingerboard. The standard
notation in Example 1, for instance, does not necessarily indicate that the figure should be
performed as a roll,40 whereas that information is clearly conveyed in tablature notation. The other
method would be to have these players be taught their parts by ear which would then be
memorized. This may sound daunting at first to a classical musician, but it is a common enough
practice in the folk and bluegrass world. While this method can take considerably more time,
several rock and roll and new-acoustic bands have shown that intricate and complex multi-part
compositions can be learned and performed in this way. Furthermore, in Hard Times Come Again the
mandolin, banjo, and guitar parts include sections that allow the players to improvise as they see fit.
The written notation offers a guide to the general groove of the music, and the harmony is
additionally notated with chord symbols. Giving the players some liberty to stray from the exact
rhythms and voicings on the page may allow them to play what they feel is a personal and
authentic expression in the folk or bluegrass style while still coordinating with the more strictly
40 The roll is a technique used in three-finger style banjo playing that is characterized by groups of successive notes
played on adjacent strings. This often results in arpeggiated figures, like that in Example 1, though more scalar figures
are also possible because of the banjo's tuning scheme.
35
notated instruments.
The vocalists should also be comfortable singing in a folk style rather than a classical style,
and similar issues pertaining to literacy of written notation may arise. In this case, it would be
assumed that the singers learn their parts by ear, possibly using recordings as learning tools. For
those singers unfamiliar with what singing in a folk style means, I have included instructions in a
performance note, however, it is undesirable to perform Hard Times Come Again using singers for
whom the folk idiom is foreign territory. It is likely that those vocalists singing in a folk style will
not have the capability to project at the same volume as those singers trained in a classical style, and
for this reason all the musicians in the ensemble should be amplified. The choice to amplify the
singers will allow them to sing in a natural manner, without strain, and achieve a dynamic balance
with the ensemble. The amplification of the instrumentalists will help to smooth over any issues of
balance between instruments of varying dynamic capabilities, but will also provide the perception
of all the sound in the ensemble occupying the same sonic world.41
3.4 Folk-like forms
The seven songs in the cycle use a variety of forms ranging from more simple two-part
arrangements to more elaborately through-composed constructions based on thematic
development. Though each of the songs blends stylistic elements of folk and classical music, the
forms of the songs play a significant role in determining a song's character as belonging more in the
41 Of course, purely acoustic instruments and amplified acoustic instruments have different timbres, and this choice to
amplify the musicians in the ensemble will result in what might be characterized as a modern sound rather than a
traditional sound. Many ensembles working in the folk and bluegrass style utilize a single microphone approach,
which mitigates some of the timbral differences associated with amplification of acoustic instruments. This approach
requires a keen sense of choreography among the performers, however, and the stationary aspect of certain
instruments in this ensemble (piano and cello) make this approach unreasonable.
36
folk or classical genre. Common features of folk song forms, such as refrains or verses, identify
certain songs as more folk-like from a formal perspective. Three songs in the cycle, “It Was Rough
Going,” “One of My Father's,” and “Three-Hundred-Twenty Acres,” fall into this category, though
each also integrates musical characteristics less common to folk music.
Two songs, “It Was Rough Going” and “One of My Father's,” have song forms that clearly
contain a refrain section (that might be compared to a chorus in pop song structure).42 In both songs,
this refrain is the first section of sung music in the piece (making it particularly 'hooky') as well as
the last sung section of music, and both songs include the refrain one additional time in the middle
of the piece. Both songs also include instrumental introductions, but that of “One of My Father's” is
longer and more thematically related to the refrain material. “It Was Rough Going” has a twelve
measure introduction divided into two sections; the first four measures consist of chordal
punctuations and a unison riff, while the following eight measures lead into the groove for the
upcoming vocal refrain. “One of My Father's,” on the other hand, begins with eleven measures of a
pizzicato string figure which sets up an instrumental rendition of the refrain played by the banjo at
measure 12.43 Both songs employ melodically contrasting vocal sections that might be compared to
a verse or a bridge in pop song structure, though the repetition separated by a chorus often
associated with a verse is not present in either song, as shown in Figure 4.
42 By pop song structure, I refer to the more modern song form consisting of chorus-verse-chorus-bridge-chorus rather
than the AABA structure that was so common to the songs of the Tin Pan Alley-era of popular songwriting.
43 The pizzicato string figure recurs in the final three measures of the song, as well as during the refrain at measure 85. It
also appears in an arco version during the last refrain at measure 173.
37
“Three-Hundred-Twenty Acres” also uses a simple form consisting of two alternating parts,
one of which has the 'hooky' characteristics analogous to a refrain (or chorus).44 This vocal section,
which contains the words that title the song, is the first sung section of the song following a brief
instrumental introduction, as shown in Figure 5, much like “It Was Rough Going” and “One of My
Father's.”
Unlike those songs, however, “Three-Hundred-Twenty Acres” consists of two alternating sections in
44 The other section provides contrast both harmonically and melodically, and it additionally is more open-ended
formally, exhibited by the transitory modulation that occurs in the first occurrence and the extended coda-like second
occurrence.
38
relative major and minor keys,45 each of which occur only twice.46 This use of alternating sections in
relative key relationships is not uncommon in many binary form folk songs, as previously
discussed; however, there are other matters of changing tonal centres in these three songs which run
contrary to the folk-like character of their forms.
All three of the previously mentioned songs include a change of tonal centre between the
initial refrain and the final refrain, which challenges the simplicity of the folk-like forms. Changing
tonal centres can be found in folk music; Erynn Marshall's analysis of Phyllis Marks' performance of
“Redwing” is a distinct example (Marshall 2006: 162). Marks' performance seems to exhibit a
wandering sense of tonic, however, while the songs in Hard Times Come Again exhibit the more
classical trait of a goal-oriented harmonic journey. “It Was Rough Going” modulates from the
beginning key of A major to the ending key of G major through the use of chords borrowed from
the parallel key of A minor, as shown in example 2.
45 Figure 5 uses the terms “refrain” and “verse” for these two alternating sections, although “verse” may be a less than
perfect description of the minor key sections.
46 The refrain section which begins with the words of the title contains an internal level of repetition such that one
interpretation of the song's form might show this section occurring twice in succession (as AA'), in which case this
section would be shown to occur four times throughout the entire song.
39
The G major harmony in measure 59 resolves to D major in the following measure, which might
initially appear to be a plagal resolution to a new tonic. The introduction of C major47 in measure 64
begins to cloud that assurance (though also references the borrowed VII chord from the previous
key). The appearance of the supertonic, A minor, in measure 70 finally leads to a half cadence in
measure 71 that solidifies G major as the new key.
“One of My Father's” also exhibits an ending tonal centre that lies a major second away from
47 The dominant seventh quality of the C major harmony here is more bluesy than functional.
40
the beginning tonal centre, though it lies a step higher rather than lower. The modulatory journey in
“One of My Father's,” from D major to E major, is also more circuitous than that of “It Was Rough
Going,” arriving by way of a stopover in the key of A major (closely related to both D and E major),
as shown in Example 3.
The modulation uses harmonic vocabulary that might sound out of place in a folk song, namely a
major triad built on the third scale degree. In measure 97, this F-sharp major chord acts as a half-
step approach to the diatonic G major chord in measure 98, and the phrase concludes with a clear
half cadence. This half-step chordal motion is repeated in measures 105-106, but this time followed
by a B minor chord (whose mediant relationship to the G major chord is related to the earlier D
41
major/F-sharp major relationship), which acts as a pivot chord leading to what appears to be a half
cadence in F-sharp minor. The new 'tonic' of F-sharp minor is deceptive, however, as it functions
instead as the submediant in A major, which emerges as the new key. Furthermore, the blurred
sense of mode in the new key is deepened by deceptive resolutions in measures 116, 126, and 142.
The ambiguous nature of the F-sharp minor harmony is also utilized in the next modulation where
it acts as a pivot chord leading to a half cadence in the new key of E major, as shown in Example 4.
The change of tonal centre in the fifth song, “Three-Hundred-Twenty Acres,” from C major
to E-flat major involves distantly related keys, however, the two halves of the song consist of a
refrain in the major key (C and E-flat) followed by contrasting material in the relative minor key (A
and C), such that the beginning and ending keys have a parallel relationship. The harmonic
limitations of the banjo place additional importance on these particular tonal centres; only three
major keys (C major, G major, and E-flat major) can be played on the banjo that allow the drone
string to function as part of the tonic triad. Because of these limitations, the use of the banjo's drone
string shapes much of the drama in this song, both harmonically and thematically. Harmonically,
the drone string creates a consonant sonority in the opening key, builds tension during the
modulatory transition as it is included in harmonically ambiguous diminished chords (made all the
more ambiguous by the inclusion of the drone string), and finally delivers a sense of release when it
42
emerges as the harmonious major third in the new tonic triad. Thematically, the banjo part is based
on the role of the drone string in the clawhammer style, and that thumb stroke is doubled with
harmonics in the violins, viola, and cello. Furthermore, the high energy clawhammer rhythm does
not simply start and stop; instead, it emerges at the beginning of the song and dissolves at the end
of the song. Throughout these multiple sections of varied tonality and texture, the droning G-string
is a constant fixture in the music.
“It Was Rough Going,” “One of My Father's,” and “Three-Hundred-Twenty Acres” each use
formal structures that reference the folk genre. Melodically memorable, repeated refrains exhibit an
essential characteristic for folk music: the ability to invite listeners to participate after only a
minimal number of hearings.48 These songs, however, also integrate a harmonic journey, a
distinguishing component of many classical forms. While the tonal centres shift between repeated
refrains, they are prepared through smooth modulations. As a result, a listener may be able to sing
along to each refrain, not necessarily knowing that the actual pitches they sing are different. In this
way, these three songs show a blending of folk and classical structures in which the most salient
features are folk-like.
3.5 Less Folk-like forms
The remaining four songs in the cycle use forms that allude to folk music much more subtly or not
at all. “I Was Relieved” and “We Had So Little” are organized around thematic development and
transformation. This formal trait, combined with each song's placement in the cycle, facilitates the
48 I have noticed some folk music audiences for whom I have performed that have begun singing along as soon as the
middle of the first refrain in a song, even when never having heard the song before. This is one of the most joyful
aspects of folk music to me.
43
perception of dramatic climax that occurs within the cycle at these points. “This Is What Happened”
and “I Had a Terrible Guilt” illustrate more elusive forms. While they both utilize repetition as a
method for establishing a sense of cohesiveness, this repetition does not function as a folk-like
refrain in an invitation to participate.
Perhaps the most folk-like of the four above-mentioned songs is “This Is What Happened,”
as the repeated material most resembles a refrain. This sung material begins the song and is then
immediately repeated. The same thematic material ends the piece, but in this occurrence it is played
by the viola and cello. Unlike a true refrain, however, it never appears in full throughout the song,
only materializing as fragments. This fragmentation is a distinguishing feature of the song in
general, as each singer's narrative is broken into pieces, which are interrupted by segments of the
refrain, as shown in Example 5.
44
In this way, the form of “This Is What Happened” alludes to folk song form, but in actuality it
shows a deconstruction of that stylistic form. This deconstruction directly addresses questions of
memory and truth, particularly when linked with the lyrics of the 'refrain': “This I remember.
45
Because this is what happened.” As Alan Lomax wrote, “folk song, like any serious art, deals with
realities” (Lomax 1966: ix), but this song seeks to propose the idea that our memories are never as
clear as our initial experiences. Past realities are always seen through the lenses of present realities,
and this recollection is what allows for a diversity of realities to be expressed throughout the cycle.
Not only was the Great Depression experienced in a variety of ways, but differences in experiences
after the the Great Depression have effected the manner in which the era has been remembered by
various observers.
One the more underrepresented narratives, at least in stereotypes, of life during the
Depression is examined in “I Had a Terrible Guilt.” This departure is addressed through musical
characteristics such as harmonic language and orchestration that will be discussed later, but form
also plays a role. The form is much more nebulous than that of a folk song. Though repetition of
sections does occur, they occur with much more variation than might be found in a song form
(necessitating the more classical nomenclature of A, A', and A” rather than refrain), as seen in
Figure 6.
When the opening lyrics, “I had a terrible guilt,” repeat at measure 43, not only have the actual
pitches changed, but a crucial interval has also changed. In the second version the melody appears
to outline an E-flat major harmony where the original statement outlined a G minor harmony, as
seen in Example 6.
46
This alteration is different than the harmonic changes in the above mentioned folk-like refrains
since the melodic variation overtly effects the emotional characteristic of the phrase. Furthermore,
this modification is more salient than a repetition that maintains the same melodic intervals
transposed to a different tonal centre. In this way, the form of “I Had a Terrible Guilt” relies less on
simple, exact repetition and more on development of materials.
“I Was Relieved” and “We Had So Little” are also both typified by development of materials,
and this aspect of each piece helps to contribute to the aforementioned sense of dramatic climax that
occurs in these two songs. Exhibiting a broad arch form (ABA'), “I Was Relieved” employs one of
the basic forms in the cycle even though the song is the second longest in the cycle. The length of
each section along with the limited amount of material presented gives the piece an expansive
quality despite the simplicity of the formal structure. The A sections are characterized by a
harmonic stasis, and in the opening section the momentum is pulled along by two slowly
developing elements. The first element is the melodic material sung by the voices, the full lyrical
phrase emerging only one word at a time and marked by a considerable amount of repetition. The
singers enter at measure 12 with three repetitions of the single word “I” before the phrase is allowed
to move forward with “I was” at measure 17. Not until measure 69 is the lyrical sentiment
expressed in its entirety. The second aspect of slow development in this section is the interlocking
rhythms in the mandolin, banjo, guitar, and bass parts, which begin in the first measure as
47
simultaneously struck chords. These chordal iterations begin to alternate by measure 15, and at
measure 25 an interlocking groove is created from single notes in each part. Throughout the course
of the A section, this rhythmic structure becomes more active, and the harmony, though still
statically centred around the pitch G, becomes more colourful with added tones.
The B section, which arrives at measure 86, contrasts with respect to harmonic progression,
rhythmic material, and melodic presentation. While the mandolin, banjo, guitar, and bass maintain
their collective role as a rhythm section, their individual roles are more self-sustaining and less
reliant on the interplay of their rhythms to create the overall groove. Equally self-sustaining is the
clarity with which each of these instruments articulates the harmony of the moment, which
progresses in large blocks ranging from six to twelve measures in length. The singers contrast with
their earlier melodic presentation as well, singing in a homophonic texture which progresses to
octave doubling for the final phrase.
The return of the A section at measure 117 brings back the lyrical material from earlier in
the piece as well as the static harmony centred around the pitch G. The vocalists begin
monophonically, but by measure 126 they are alternating iterations of the phrase. In the
instrumental ensemble both the sustained chords and the chordal alternations of the first A section
return. Unlike the building up of the opening section, however, here the dynamic and dramatic
characteristics create a fading away. This development of, departure from, and return to the musical
materials in this piece create a dramatic journey far larger in scope than other songs in the cycle
with more complex forms. In part, the simplicity of form allows for this journey to take on
importance through the elongation of each section in the temporal realm. Because the material
48
evolves slowly, it need not travel very far to feel like it has arrived. This sense of arrival is what
helps to give the song a greater sense of dramatic climax in the overall form of the song-cycle.
Similarly, “We Had So Little” undergoes a musical journey within its form that gives it a
greater sense of dramatic importance in the cycle. Unlike “I Was Relieved,” however, the form in
“We Had So Little” has many parts that are tied together through the recurrence of two important
themes. The two themes occur as the first and last sections that are sung, but their placement in the
overall development of the piece gives quite different dramatic functions to their appearances. One
theme offers a sense of familiarity while the other gives a sense of foreshadowing. This duality of
repetition within the song along with the relative length within the cycle helps “We Had So Little”
to deliver the emotional climax that brings closure to the cycle as a whole.
The song begins with an introduction that carries more dramatic weight than any other in
the cycle in part because of its length, twenty-six measures, and in part because of its harmonic
motion, moving from E-flat minor to B-major. After arriving in the key of B-major, the first theme is
presented by the baritone at measure 27 and is immediately repeated at measure 35 by both voices.
This immediate repetition along with the repetition within the section's phrase structure gives this
material the recognizable quality of a refrain, even though only one additional repetition occurs
later in the song. When that repetition does occur, at measure 121, the first half of the phrase is not
sung; instead it is played by the violins. Though the voices sing only the last phrase of the section,
the occurrence has the recognizable qualities of a fully periodic event due to the great amount of
repetition during the initial appearance of the material.
This section at measure 121 is also notable because the two repeating themes of the song are
49
heard simultaneously. While the violins play the theme that matches the words “we had so little
money in the bank,” the viola and cello play a variation on the final theme in the song. This ending
theme is first heard at measure 48 in the string quartet, though the melodic line is masked by its
being stated once in each instrument in an overlapping manner. At measure 88, the opening motive
of the theme is presented in a harmonized version in the string quartet, but it dissolves into
counterpoint that again hides its totality. By its appearance at measure 121, the musical seed has
been planted twice but never cultivated. The two themes sounding simultaneously elicit both senses
of familiarity and foreshadowing since one theme has been heard only once (or twice, counting the
immediate repetition) before and the other, never heard in full, has set up the expectation of
development.
Immediately following the vocalists' reiteration of the opening theme, a rhythmically
energetic section gives the most overt statement of the final theme, at measure 135, in the piano and
mandolin. When the theme is finally sung at measure 165, the tune is fully recognizable to listeners,
and the coupling of lyrics with the music delivers an additional significant layer. Furthermore, this
realization of the theme musically illustrates the lyrical allusion to a change “in point of view,” the
words that are sung as the orchestration shifts. The song's form, which arrives at this crucial
moment after several modulations involving two repeated themes intertwined with other non-
repeating sections gives the song an understated grandiosity that can bring closure to a song-cycle
examining the historic struggles of hard times with the simple statement: “I just want one happy
life, that's it.”
50
3.6 Harmonic Language
While the harmonic language used throughout Hard Times Come Again shows a variety of
approaches towards vertical alignment, there are some commonalities that are prevalent in most, if
not all, of the songs. Triadic and tonal chords are frequent, though they do not always progress in
an order customary to common-practice harmonic theory. Moreover, added colour tones are often
included in these triadic harmonies. Sometimes the resulting chord clearly appears to fit into
concepts of extended tertian harmony, while other times extended tertian harmony is implied but
not fully realized (like many jazz voicings). On occasion, vertical alignments are based on non-
tertian intervals, although in these instances elements of triadic harmony are often juxtaposed.
Some of the clearest examples of simple triadic harmony appear during moments in the
score where the rhythm section is given instructions to “ad lib as desired.” The first refrain in “One
of My Father's” uses only tonic, subdominant, and dominant triads, as shown in Example 7.
51
The melody sung by the alto is anchored in chord tones, and nearly all the non-chord tones could be
easily assigned common-practice labels. In this way, the vertical alignment of pitches in this section
of the song alludes overtly to the harmonic language of folk music. One aspect of this harmonic
movement that does not strictly follow the conventions of common-practice progression, however,
is the interplay of dominant and predominant space. The dominant harmony is followed by the
subdominant not once, but twice, and this harmonic movement functions to delay the ultimate
resolution to the tonic at the end of the phrase.
Shortly following the passage illustrated in Example 7, one can find the use of triadic
language that would be much more rare in folk music, if found at all. In measure 37, a major triad
built on the third scale degree is used; and, this triad contains the raised fifth scale degree, an
uncommon pitch in folk music. This harmonic peculiarity was discussed previously in the context
of the modulation shown in Example 3, and some parallels exist between the two occurrences (m. 37
and m. 97). In both instances, the third scale degree is used as a stepwise approach in the bass line
to the fourth scale degree. In measure 38, however, the fourth scale degree appears as part of a
supertonic chord in first inversion, as shown in Example 8, rather than the subdominant triad found
in measure 98.
52
The stepwise bass line continues upwards becoming a leading tone to the dominant chord, and the
diminished triad carries a common-practice secondary function. This passage points towards a
hybridity of styles, the chromatic harmony, indicative of classical music, pushing the diatonic
boundaries commonly found in folk music.
Extended tertian harmony is also used habitually throughout the song cycle, and a notably
folk-like occurrence of extended tertian harmony can be found in “It Was Rough Going.” A
dominant seventh harmony in measure 31 is adorned with a raised ninth (spelled as a minor third),
and the tonic resolution in the following measure includes a lowered seventh. These non-diatonic
tones allude to blues music, a significant influence on the honky-tonk and early rock and roll music
that inform much of this song's musical style. Other examples of extended tertian harmony
resemble voicings commonly found in jazz music, which can also be seen as an evolutionary
offspring of the blues style. Each of the four triadically based harmonies that appear in the B section
of “I Was Relieved” includes added tones that can be interpreted as harmonic extensions regardless
of their placement in the vertical structure of the chord voicing, as shown in Example 9.
This particular section of the song, with its large blocks of 'jazzy' harmonies, exhibits the harmonic
characteristics of modal jazz music,49 albeit in a more diatonic way that might suggest a hybridity
49 John Coltrane's “Impressions,” Miles Davis' “So What,” Freddie Hubbard's “Little Sunflower,” and Herbie Hancock's
53
with folk music.
Several places in the song cycle exhibit the use of a specific added tone within a traidic
landscape that cannot be explained by the previous discussion. These instances are characterized by
the instrumental limitations of the banjo, which employs a fifth string shorter than the other four.
Because this string is not as readily stopped as the other four strings, the pitch of that string (in this
piece, and in most banjo tunings, G) functions as a drone in most banjo music. This drone note plays
a significant role in “Three-Hundred-Twenty Acres,” which, as previously discussed, utilizes the
clawhammer technique as a thematically unifying feature. In many instances, this pitch (G)
functions within the diatonic realm and appears as an added tone in the harmony of the moment.
This use of the drone pitch can be clearly seen in measure 40, where G becomes the ninth of the F-
major harmony, as shown in Example 10.
Elsewhere, the drone pitch clashes with the harmony of the moment. In measure 91, the G-natural
of the short string clashes with the G-flat in the A-diminished seventh harmony, adding to the
dissonant tension in that section of the song.
There are other examples of vertical alignment in the song-cycle that stray further from
triadic tonal harmony, and these vary in their method of organization. One example of non-triadic
“Maiden Voyage” are just a few examples of jazz compositions that fall into this modal category.
54
harmony that is constructed from triads can be found in “This Is What Happened.”50 The formal
structure of the song, as previously discussed, is fragmented, and the piano's role in the piece is to
blur the seams between those fragments. In measure 65, for example, the piano plays an
arpeggiated figure constructed of a B-major triad, a G-minor triad, and an F-sharp-minor triad (with
the final note blurred by a half-step neighbouring tone),51 as shown in Example 11.
The section before this figure resides clearly in F-major, while the section that follows sounds more
vaguely, but perhaps most saliently, like C-major.52 The vagueness of tonal centre in the following
section is caused in part by the fact that the voice and the guitar are operating in two different keys,
and this juxtaposition simply adds to the sensation of fragmentation that exists throughout the
song.
Elsewhere in the song-cycle juxtapositions of non-tonal harmony are used to create a
musical environment that sounds very unlike folk music. This sound-world can be heard
throughout “I Had a Terrible Guilt,” and it alludes to the stereotypically imagined distance between
the 'folk' of Great Depression and the narrative of this song. As exhibited in the opening measures,
50 Another example of vertical alignment worth mentioning in “This Is What Happened” is the concurrent sounding of
major and minor thirds and sevenths in the introduction. This is a direct musical reference to the research of Erynn
Marshall discussed in Chapter 2.
51 One could also hear a D-major triad in this construction since the D from the G-minor triad and the F-sharp and A
from the F-sharp-minor triad are repeated.
52 Besides the C mixolydian scale from which the vocal melody is constructed in this section, the chromatically ascending
banjo chords and the guitar's leading tones, to A, also blur the sense of tonality. Nevertheless, given the clear reference
to the opening thematic material, the vocal melody points the listener's ear toward C-major.
55
the piano part is typified by low octaves in the left hand and pandiatonically moving chords,
constructed of a second atop a third, in the right hand. The shape and density of these right hand
chords develop throughout the song, and the piano's vertical arrangements are often referenced,
though not doubled, in the violins and viola. Throughout the piece, the mandolin weaves between
the vocal melody and the motivic use of rising sevenths, as shown in Example 12, and this motivic
use of sevenths often clashes with the pandiatonic landscape in the other instruments.
Though the harmonic language used in “I Had a Terrible Guilt” implies a distant relationship to the
other songs in the cycle, references to tonal construction are present. In the final measure, for
example, the mandolin uses the rising seventh motif to outline an E-flat-minor harmony. These
moments of tonal reference ensure that the song's distance is not too far removed as to be excluded
from the greater narrative.
The harmonic language used throughout the song-cycle is generally consistent within each
song, but varies across the seven songs. Despite the diverse approaches to vertical organization,
there are overarching references to tonal construction, which helps to disclose the influence of folk
music. Also clearly present, however, are harmonic arrangements that betray the influence of
classical and jazz music. Combined with the text, this variety of harmonic language aids in
expressing the multifaceted narrative of the era.
56
3.7 Rhythmic Treatment
As with other stylistic elements used in the song cycle, rhythmic elements in the various songs show
influence of both folk music and classical music. Many of the songs are predominantly in 4/4 time, a
metre that is common in American folk music, and several of the songs use the metrical device of
'crookedness' that gives many folk songs rhythmic interest. Most of the songs use the folk-like trait
of a constant pulse from first note to last, although two songs employ classical performance
techniques of sectional tempo changes and/or ritardando. Additionally, other songs use mixed
metre in a fashion that would be uncharacteristic in folk music, but quite at home in contemporary
classical music.
Two songs that are most influenced by American folk rhythms are “Three-Hundred-Twenty
Acres” and “It Was Rough Going.” Both songs have rather fast tempi, at 184 and 152 beats per
minute, respectively, and both songs maintain an unchanging tempo from beginning to end.
Additionally, both songs use a metre of 4/4 with occasional 'crooked' phrases. The refrain in “Three-
Hundred-Twenty Acres” illustrates a clear example of an asymmetrical phrase structure that might
be called 'crooked' by a folk musician. By examining the grouping structure of the refrain, three
phrases can be found with lengths of thirty-two, thirty-two, and twenty-four beats, as shown in
Example 13.
57
Each of these phrases is also divided asymmetrically. The twenty-four beat phrase can be grouped
into two groupings of eight beats and sixteen beats. Each of the thirty-two beat phrases can be
divided into two groupings of eighteen and fourteen beats, and each of these groups can be further
broken into two groupings of eight beats and either ten beats or six beats. Through this analysis,
several layers of asymmetry are apparent in the phrase structure of the refrain, and, specifically,
what is notated as mixed metre is the source of the 'crooked' quality of the phrase.
“Three-Hundred-Twenty Acres” also shows folk influence though its rhythmic treatment of
the banjo and guitar material. The banjo plays in a clawhammer style throughout the song, and this
results in a rhythmic pattern marked by a quarter note (or two eighth notes slurred) on beats one
and three, and two eighth notes on beats two and four (the second of which is the short drone
string). The compositional application of this clawhammer material, however, reveals classical
influence as well, for the rhythmic pattern does not simply begin and end as it might in a folk song.
Instead, the rhythmic pattern emerges, develops into the characteristic clawhammer rhythm, and
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then dissolves into its elements as the piece concludes. The notated guitar part also reveals folk
rhythms characterized by bass notes in half notes with the remainder of the two beats filled by
various combinations of eighth and quarter note strums. This rhythmic pattern, like the banjo's
clawhammer material, emerges rather than begins. Unlike the banjo, however, the guitarist is given
the freedom to improvise an accompanimental role throughout much of the piece, since the guitar's
material is more bass oriented and less melodically oriented than the banjo's.
Though a folk-like 'crookedness' can be seen in the phrase structures of “It Was Rough
Going,” the rhythmic treatment of this song owes more to the honky-tonk and early rock and roll
music that evolved out of the folk music of the southern United States. The piano, guitar, and bass
parts show quite literal rhythmic influences from the genre, while the parts for banjo and mandolin,
which were not commonly found in early rock and roll or honky-tonk music, are given invented
rhythmic ideas based upon the genre. The bass and guitar parts are typified by a two measure
pattern that shows syncopated elements, and the downbeat of the two measures is usually
articulated on the beat, though occasional anticipations that reinforce the melodic rhythm also
occur. The piano part borrows from the constantly repeated eighth notes found in the playing of
Jerry Lee Lewis or Little Richard, and the mandolin takes its rhythmic conception from this
influence as well. The banjo part, marked by a hemiola pattern often using the minor and major
third, brings to mind the playing of honky-tonk pianists such as Fats Domino and Jelly Roll Morton.
A slightly more complex rhythmic irregularity that takes its influence from folk-music can be
found in “This Is What Happened.” The opening section, which emulates fiddle-song in its
instrumentation and vertical arrangement, also uses elements of phrase elongation and
59
compression, as discussed in the research of Ruth Crawford Seeger. As shown in Example 14, this
section can be broken into three phrases, each of which would be four measures of equal length if
symmetrically arranged.
Instead of this more regular phrase structure, however, beats are added or subtracted at phrase
boundaries. The first phrase adds two beats, which permits the singer to pause on the word
“remember” before taking a breath and continuing. The second phrase subtracts a beat, as if to
stress the importance of the next phrase. That final phrase adds one beat to the measure of rest that
concludes it, allowing the solemn sentiment of the statement to sink in.
Further irregular rhythmic treatment in “This Is What Happened,” however, betrays
classical music influence as well. Apart from the opening section, mixed metre is used elsewhere in
the song to create an unpredictability that aids in the blurring of seams between fragmented
sections. Moreover, tempo changes, which are quite rare in folk music, are used to propel the
60
dramatic momentum out of the introduction and to ease the dramatic motion into the coda. Though
most of the songs in the cycle utilize a steady tempo, brief uses of ritardando can also be seen in
“One of My Father's.” These examples, along with mixed metre used in “I Had a Terrible Guilt,” “I
Was Relieved,” and “We Had So Little” show clear influences of both folk and classical music in the
rhythmic approach to Hard Times Come Again.
3.8 Melodic and Linear Treatment
It is important to mention that while the compositional style of the song cycle is influenced by
American folk music, there are no direct quotations of folk song in the piece. All the melodies are
original creations, though many of them may evoke aspects of traditional repertoire. Like most folk
music, many of the melodies in Hard Times Come Again share an easy singability. Melodic intervals
larger than a perfect fourth are rare, although fifths and sixths do occur on occasion,53 and dissonant
melodic intervals are generally avoided.
The refrain to “It Was Rough Going” provides an excellent example of melodic treatment
that is particularly folk influenced. As exhibited in Example 15, the range of the melodic line is
relatively narrow; it spans only a minor seventh, reaching to the fourth scale degree at its upper
limit and the fifth scale degree at its lower limit.
53 The third phrase in the refrain of “One of My Father's” is marked by a rising major sixth, for example.
61
Melodic intervals of seconds and thirds are prevalent, excepting the fifth in measure 14 and the
fourth in measure 16 that occur between phrases. All of the pitches, with the exception of C-natural,
are not only diatonic, but pentatonic. The C-natural functions as a blue note, and this quality is
reinforced in measure 14 by the slide from the C-natural to C-sharp. A similar slide can be seen in
measure 16 between F-sharp and E. Analogous folk-like treatment of melodies, including restricted
range and pitch material, use of slides and scoops, and use of blue notes to colour diatonicism, is
also apparent in “This Is What Happened,” “Three-Hundred-Twenty Acres,” “One of My Father's,”
and “We Had So Little.”
Elsewhere in the song-cycle, a departure from some of these folk-like melodic characteristics
are used specifically to confront that voice of the 'folk.' As has been discussed previously, “I Had a
Terrible Guilt” challenges this sentiment, and the treatment of melody in the song follows suit.
While the vocal melodies do generally lie within a diatonic structure, the use of larger, less stepwise,
melodic intervals occurs more often than in any other song in the cycle. Furthermore, melodic sixths
are used motivically in the vocal theme and a melodic tritone also appears in this vocal melody.
These intervallic traits might make this song less immediately singable by a large number of people,
distancing its melodic style from that of folk music. Instrumentally, the use of a motive constructed
of successive sevenths in the mandolin, previously discussed in reference to its harmonic
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implications, also contributes to this melodic distance from folk music.
Melodic treatment in “I Was Relieved” also reveals more significant influence from classical
music than from folk music, particularly in the opening A section. The melodic material is largely
repetitive and fragmented; and, rather than being presented immediately, it slowly develops into
the melodic statement that is heard at measure 69. Once the melodic statement is sung by the
baritone, it is repeated exactly by the alto (although an octave higher) before the two voices overlay
presentations of the melody. As the voices deliver the melodic statement, another classically
influenced melodic element is superimposed; the string quartet plays a gesture constructed from a
descending octatonic scale. Later in the piece, the voices reprise a variation of the melodic statement
that occurs first at measure 69, but here the overlapping structure is less regular. It is this
unpredictability of the melodic structure that speaks most to its being at odds with folk music, for
folk music often has predictable qualities in order to encourage a participatory environment.
Whereas many moments in Hard Times Come Again are composed with consideration for this
communal aspect, other moments seek to allow a more personal, individual expression for the
performers.
3.9 Texture and Counterpoint
Though the textures vary from song to song, a melody-dominated homophonic texture is frequent
throughout much of the cycle with a vocal melody accompanied by a rhythmically active and
harmonically supportive framework in the plucked strings. The bowed strings are often included
with sustained tones and less often with rhythmically propulsive motives. At points in which no
63
voice is singing at all, the bowed strings often take on the melodic role, many times in a thickened
line texture. An important texture that takes its influence directly from folk music is the loose
doubling of the vocal melody by certain instrumentalists, particularly in the clawhammer banjo
material as well as the fiddle-like material in the strings. More polyphonic counterpoint does occur
on occasion, but polyphony is not the defining characteristic of the compositional style in Hard
Times Come Again.
The most transparent textures that occur in the song cycle are monophonic, and these occur
with only limited frequency in the piece. One instance can be seen in the opening to “This Is What
Happened,” where the alto melody is doubled at pitch by the viola. When the baritone enters at
measure 14, this voice is in turn doubled at pitch by the cello. A particularly striking characteristic of
the monophonic texture in these two phrases is that all the voices are not always sounding the same
pitch, as shown in Example 16.
This phenomenon occurs in part because of the previously discussed co-existence of major and
minor thirds and seventh, which emulates West Virginian fiddle-song. These imprecision of
64
doubling also occurs, however, because the 'monophonic' lines are composed with rhythms that are
at times slightly askew from each other. This looseness of rhythm is intended to complement the
looseness of pitch alignment such that the result portrays four (or two) independent interpretations
of the same monophonic line occurring simultaneously. Other instances of monophony are more
conventional, as in “It Was Rough Going” at measure 106, as seen in Example 17.
Here the entire ensemble presents a tutti line in three octaves, and the monophonic texture
contributes to the loud dynamic in bringing an energetic and exciting closing to the song.
Homophonic textures are much more common throughout the song-cycle than are
monophonic textures, and one example of a homophonic texture that takes its influence directly
from folk music can be found in “We Had So Little.” Early in the piece, at measure 27, the baritone
presents thematic material that is immediately repeated by the alto at measure 35. When the alto
65
enters, the baritone sings a harmony line in the same rhythm and mostly similar contour. As shown
in Example 18, this homophonic texture between the two voices is particularly notable for its
abundance of perfect intervals, often approached in a manner contrary to conventional rules of
counterpoint, which give bluegrass singing what many call a 'high and lonesome sound.'
One of the more thematic uses of polyphony occurs in the same song with some of the same
material utilized in similar ways. At measure 121, the refrain like material that was sung by the two
voices at measure 35 is presented by the two violins, as shown in Example 19.
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A homophonic texture with many perfect intervals between the two violins resembles the vocal
material in measure 35. Added to the texture at measure 121, however, is a second melodic line in
the viola and cello; this melodic material foreshadows the final thematic presentation in the voices
at measure 165. At measure 121, as elsewhere in the piece, contrapuntal rules governing avoidance
of similar or parallel motion towards perfect intervals are largely ignored. Not to be misinterpreted
as a disregard for the sense of independent line, this more loose treatment of contrapuntal writing
gives the music a character of what Doc Watson calls “country counterpoint” (Watson).
Two unique textures that reveal influence of vocally derived folk accompaniment can be
found in the banjo part to “Three-Hundred-Twenty Acres” and the viola part to “This Is What
Happened.” Both instances involve the instrument loosely doubling the vocal melody with
rhythmic embellishment characteristic of a folk style playing technique. In the refrain to “Three-
Hundred-Twenty Acres” at measure 37, the banjo plays a unison doubling with the alto melody.
Because the vocal melody is sung to a speech-like rhythmic pattern and the clawhammer technique
is subject to rhythmic limitations, the melodic pitches do not always align, as exhibited in Example
20.
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In measure 37, for instance, the melody changes pitch from E to F on the second half of the third
beat, which allows the banjo to articulate this pitch at the same time as the singer by utilizing a
hammer-on. In the following measure, however, the vocal melody changes from A to G on beat four,
a strum stroke in clawhammer style, and the banjo articulates the pitch change half a beat earlier. In
a similar, but idiomatically unique way, the viola adds the rhythmic drive of shuffle bowing
technique to the loose doublings with the baritone melody in “This Is What Happened.” One
occurrence of this texture can be seen at measure 106, and in this instance the viola doubles the
baritone melody at an octave above.
These two instances show how textures throughout the song cycle are generally motivated
by rhythmic considerations. At times this condition results in the loose 'country counterpoint' that
has been discussed above, and at times this rhythmic motivation results in an interlocking groove.
These grooves take on a variety of characters, from the rocking honky-tonk of “It Was Rough
Going” to the bluegrassy two step of “One of My Father's.” At other times the rhythmic grooves are
more pulsating in a reference to minimalism, as in “I Was Relieved,” or more ethereal, as in the high
strings in “Three-Hundred-Twenty Acres.” This discussion of texture, then, reiterates a prevailing
concept in the discussion of form and style throughout the song-cycle—the concept of diversity.
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Chapter 4: Closing Thoughts
4.1 An Aesthetic Statement
As an artist and as a musician, my primary concern is that of honest expression. Originality for the
sake of newness can seem contrived, but by accessing each of our own unique wells of personal
experience any artist can be original by being personal. The technological age makes an immense
amount of shared information, both musical and otherwise, available to anyone. This access to ideas
(artistic, political, philosophical, and economic) from around the world can begin to blur cultural
boundaries and elevate the importance of the individual experience, though as James Clifford
points out, “persistent hope for the reinvention of difference risks downplaying the destructive,
homogenizing effects of global economic and cultural centralization” (Clifford 1988: 15). It is all the
more important in the face of this “cultural gray out,” as Alan Lomax calls it, to draw on personal
authenticity of expression in art, rather than newness for newness' sake, in order to avoid “the smog
of the phoney” (Lomax 2003: 285).
It is my intention in composing Hard Times Come Again to create a piece of music that
expresses a personal voice based upon my own musical experiences. The musical style of the piece
might be described as metrical, pulsed, generally tonal, and largely homophonic. Alternately, it
could be described as 'folky' or even 'poppy,' and in the current musical landscape these labels could
lead some to write the piece off as pedestrian. It is important to consider, though, that “a musical
device becomes banal when it is borrowed, but not earned” (Scrutton 1997: 482). Through my
musical experience as an insider in both the culture of North American folk music and the culture of
classical music, I trust that I have earned the permission to use these musical devices as my own
69
personal expression in an honest and meaningful way.
The enigma tangled up in the concept of authentic expression is that authenticity can often
only be determined by the creator of the expression. The observer cannot fully parse the creator's
intention, and so the observer can only guess as to the level of authentic expression. Interpretation is
therefore equally if not more important than intention; after all, “aesthetic interest . . . is an interest
in appearances: its object is . . . the revealed presence of the world—the world as it is encountered in
our experience” (Scrutton 1997: 5). Consequently, it is also my intention to create a musical
composition that intertwines the aesthetic of classical music with that of folk music. I, unfortunately,
can only own my intention and not others' interpretation of the work, and so I can only express my
hopes for how the work might be interpreted. I hope that the music is immediately graspable on a
first listen, but that subsequent listenings continue to illuminate deeper connections. I hope that a
listener might be invited to experience the piece in enraptured silence, but be equally comfortable
tapping their feet and humming along. In short, I hope that the music will speak to an elite with a
language of an everyman, and I hope that the music will speak eloquently to everyone.
In 1945, nearly seventy years before I began composing Hard Times Come Again, the folklorist
A.L. Lloyd wrote:
“Till recently it always seemed there was a clash between what was cultured
and what was traditional, and it was reckoned that culture would win and
the traditional would die out. Now it is not so clear, and it really looks as
though there may be a blending of the two kinds. Each has something the
other needs.” (Lloyd 1945: 17)
As shown by the music of some the previously discussed artists, the blending to which Lloyd
referred has continued into the next century. This era where genre distinction is less important than
70
ever, from an aesthetic perspective,54 is the era in which I live as an artist. The lines in the sand
between classical music, folk music, popular music, jazz music, rock music, and electronic music are
being washed away with each new performance, as musicians of many genres continue to explore
the musical expanse readily available to them in the information age. Similar blending can be seen
in other art forms as well; novels have been written in poetic verse, paintings have three
dimensional protrusions. The word “dramedy” is a widely accepted term referring to a hybrid of
comedy and drama among television programming. Hybridity is a defining characteristic of the
twenty-first century so far, though I wish that Hard Times Come Again be categorized as neither
classical music, folk music, nor a hybrid of the two, but simply as music.
4.2 Coming Again
An unusual thing happened during the writing of this piece: the price of gasoline dropped
dramatically. In January 2015, the global price of oil was roughly half of what it was only six months
before (Blatchford 2015). In my new home of Canada, the national economy is heavily impacted by
the price of oil, and some economists have issued less than rosy predictions for the near future.
With uncertain prosperity ahead, the lessons of the Great Depression appear to be quite relevant
still. Hard times, it seems, come again and again and again.
54 Though certainly not from the economic perspective of anyone seeking to market or advertise music.
71
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75
Appendix A: Programme Note
In late October 1929, the US stock market took a devastating plunge, losing more than a quarter of
its value in a matter of days. The crash signified the beginning of a financial crisis that would last
more than a decade and impact countries around the globe. Though the stereotypical imagery of life
during the Great Depression includes dour faces of migrant workers standing in breadlines or well-
suited businessmen leaping from skyscraper windows, actual personal experiences were varied. I
recall my grandmother telling me her story of moving from northern Ohio to Detroit, where a
dozen (or more) family members were living in a small house. Her most vivid memory of the Great
Depression was a beautiful feathered hat. She had saved bits of her earnings for weeks and used
them to purchase the hat rather than extra food to share among her family; that crowded house took
a long time to forgive her.
Hard Times Come Again takes its text from oral history of the Great Depression. Some of the
words come from those recollecting their own experiences; some of the words come from stories
that have been passed down from one generation to another. Each song's words give a unique
account of getting by when times were tough, and all the words are real tales from real people.
Throughout the piece, folk music idioms are referenced, and these references are intended to reflect
the commonplace language used in the text. After all, as Ruth Crawford Seeger and Charles Seeger
wrote in the introduction to John and Alan Lomax's Folk Song U.S.A.,”folk song deals with realities.”
76
Hard Times Come Againfor two voices and chamber ensemble
by
Adam Hill
Appendix B: Musical Score
77
Duration: 30-35 minutes
Instrumentation: Alto Voice Baritone Voice
2 Violins Viola
Cello
Bass Mandolin
Banjo Guitar
Piano
The text of the piece was constructed by the composer with the assistance of Bren Simmers out of interviews conducted by Studs
Terkel and published as Hard Time: An Oral History of the Great Depression.
Performance Notes: All the performers should take care to adopt a North American or Appalachian folk style to the piece. For arco strings, this
will result in little or no vibrato. For the guitarist, a steel string guitar should be used and played with a flatpick. For the
mandolinist, it is preferable to use a folk style instrument (either an A or F model is suitable) rather than a classical style instrument. The banjo player should use standard tuning (g-D-G-B-D) throughout and should be able to play in both
clawhammer and three-finger styles. The singers should pay extra special attention to performing in a folk style, and for those performers unfamiliar with the
direction, it may be useful to heed a few of Ruth Crawford Seeger`s instructions included in the preface to Our Singing
Country:
"1. Do not hesitate to sing because you think your voice is not good -- i.e., has not been trained. These songs are better sung in the manner of the natural than the trained (bel canto) voice. Do not try to smooth out your voice. If it is reedy or nasal,
so much the better.
3. Do not sing with expression, or make an effort to dramatize.
5. Do not hesitate to keep time with your foot. Unless otherwise indicated, sing with a fairly strong accent.
6. Do not punch or typewrite out each tone. When two or more tones are to be sung to one syllable of text, bind them
together rather than articulate each separately.
7. Do not make too much difference between major and minor degrees in songs containing both."
All instruments and voices should be lightly amplified using microphones and/or pickups. The voices and piano must use
microphones for amplification, and the singers should both be comfortable "working the mic." For the remaining instruments it is preferable to be consistent in the method of amplification (i.e. either pickups or microphones), and this will help the
ensemble have a well-blended sound.
Programme Note: In late October 1929, the United States stock market took a devastating plunge, losing more than a quarter of its value in a matter of days. The crash signified the beginning of a financial crisis that would last more than a decade and impact countries
around the globe. Though the stereotypical imagery of life during the Great Depression includes dour faces of migrant workers
standing in breadlines or well-suited businessmen leaping from skyscraper windows, actual personal experiences were varied. I recall my grandmother telling me her story of moving from northern Ohio to Detroit, where a dozen (or more) family members
were living in a small house. Her most vivid memory of the Great Depression was a beautiful feathered hat. She had saved her earnings for weeks and used them to purchase the hat rather than food to share among her family; that crowded house took a
long time to forgive her. Hard Times Come Again takes it text from oral history of the Great Depression. Some of the words come from those
recollecting their own experiences, some of the words come from stories that have been passed down from one generation to
another. Each songs' words give a unique account of getting by when times were tough, and all the words are real tales from real people. Throughout the piece, folk music idioms are referenced, and these references are intended to reflect the
commonplace language used in the text. After all, as Ruth Crawford Seeger and Charles Seeger wrote in the introduction to John and Alan Lomax's Folk Song U.S.A.,”folk song deals with realities.”
78
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106
∑‰ Jœ œn œ œ œb œ œb
‰ Jœ œn œ œ œb œ œb
‰ Jœ œn œ œ œb œ œb
‰ Jœ œn œ œ œb œ œb
106 ¿ œ œn œ œ œb œ œb
∑
∑
œn œ œ œ Œ œ
œn œ œ œ Œ œœœœn æ
œn œ œ œ Œ œœœœn æ
œn œ œ œ Œ œœœœœn æ
œn œ œ œ Œ œœœœn
Ó Œ œœ
∑˙U œ œ œ œ>....˙˙n æU
œœœœ>....˙˙n æU
œœœœ>.....˙˙n æU
œœœœœ>....˙U œœœœn>..˙U
œœ>
ƒ
ƒ
ƒ
ƒ
ƒ
92
ª ª
&
?
B
?
?
&
&
&
?
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
Alto
Baritone
Viola
Cello
Double Bass
Banjo
Guitar
Piano
‰ jœ ˙This
∑
.˙≥
∑
∑
∑
∑
∑
∑
Leisurely, but not too slowly (q = 132)
f
f
œn œ œI re
∑
œ#≥ œ œ
∑
∑
∑
∑
∑
∑
.˙mem
∑
.˙
∑
∑
∑
∑
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∑
˙# Œber.
∑
˙# Œ
∑
∑
∑
∑
∑
∑
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∑
œ≤ œ#
∑
∑
∑
∑
∑
∑
.˙this
∑
.˙
∑
∑
∑
∑
∑
∑
œ œ œis what
∑
œ œ œ
∑
∑
∑
∑
∑
∑
œ œ# œ Œhap pened.
∑
œ# œn ˙
∑
∑
∑
∑
∑
∑
- - -
93
This Is What Happened
Adam Hill
&
?
B
?
?
&
&
&?
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
A
B
Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
9
Œ œI
∑
9
Œ œ≥
∑
∑
9
∑
∑
9
∑
∑
.˙don't
∑
.˙
∑
∑
∑
∑
∑
∑
œ œ# œwant to for
∑
œ œ# œ
∑
∑
∑
∑
∑
∑
œ ˙Œ
get it.
∑
œ ˙ Œ
∑
∑
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∑
∑
∑ &
∑
∑
∑
∑
∑
∑
∑
www##ggggggggggggggggwww#°π
.˙This
.˙This
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∑
∑
∑
∑
∑
f
14
f
œn œ œI re
œ# œ œI re
œ#≥ œn œ œ3
jœ#≥
.œ œ
∑
∑
∑
∑
∑
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.˙mem
.˙
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∑
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∑
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∑
œ ˙#ber.
.˙#ber.
œ ˙#
.˙#
∑
∑
∑
∑
∑
-
- -
- -
94
&
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B
?
?
&
&
&
&
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
A
B
Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
18
Œ œ œ#Be cause
Œ œ œnBe cause
18
Œ œ≥ œn
Œ œ≥ œn
∑
18
∑
∑
18
∑
∑
.˙this
.˙this
.˙
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∑
∑
∑
∑
∑
œ œ œis what
œ œ œis what
œ œ œ
œ œ# œ
∑
∑
∑
∑
∑
˙# œhap pened.
˙n œhap pened.
˙n œ
œn ˙
∑
∑
∑
∑
∑
œ Œ œ#I
œ Œ œnI
œ Œ œ#≥
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∑
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w
.˙ œ
∑
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∑
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œ œn œ
œ œ#≤œ
∑
∑
∑
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∑
œ ˙get it,
œ ˙get it,
œ ˙
œ ˙
∑
∑
∑
∑
∑
- - -
- - -
95
&
?
B
?
?
&
&
&
&
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
A
B
Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
26
Œ œn œI
Œ œ#I
26
Œ œ#
Œ œ
∑
26
∑
∑
26
∑
∑
.˙don't
.˙don't
.˙
.˙
∑
∑
∑
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∑
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œ œ# œ
œ œ# œ
∑
∑
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∑ ?
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get it.
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œb œ .˙
œ .˙
∑
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œ
°F
∑
∑
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∑
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∑
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Picking it up q = 152
30
∑
∑
w
w
w
∑Ó ˙˙#w
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P
p
p
p
∑
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∑p
-
-
96
&
?
&
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&
&
&
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44
44
44
44
44
44
44
44
44
A
B
Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
√
√
33
∑
∑
33 .˙
.˙
.˙
33 ...˙˙˙#gggg
∑
33 œ œ œ œ4
∑
p
∑
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97
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Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
39
∑
∑
39 œœ œœ- œœ. œœ> œœ>
∑
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39
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∑
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accel.
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pizz.
p
∑
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f
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∑
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.
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Picking it up some more q = 160
41
p
p
P
∑
œ œ Œ œnal banks in
..˙˙ œœ- œœ.
..˙˙ œœ- œœ.˙ ˙
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∑
∑∑
- -
98
&
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&
&
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43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
A
B
Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
43
∑
œ .œ jœ œ œ œ3
stink ing quar ters and
43
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43
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∑
43
∑
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jœœ œœ>jœœ œœ>
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∑
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99
&
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43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
A
B
Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
49
.˙This
∑
49
∑
∑
∑
49 .˙
∑
49
.˙∑
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∑
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∑
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∑
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∑
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∑
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www
∑
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f
P
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- -
-
100
&
?
B
?
?
&
&
&?
42
42
42
42
42
42
42
42
42
A
B
Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
∑
Jœ œ Jœ œ œmorning be fore
56 ..˙˙ œœ- œœ.
∑
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56
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œ
∑
56
∑
∑
56
P
∑
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∑
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∑
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∑
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∑
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˙˙ œœ œœ- œœ.
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∑
∑
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∑
˙ ˙bean fields.
œœ œœ- œœ. ˙>
˙˙ ˙>˙ ˙
œ œœœœœ œ œœœ
œ
∑
∑
∑
- - -
101
&
?
B
?
?
&
&
&?
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
A
B
Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
62
∑
∑
62 ˙
˙˙
˙
62
jœ .œ
∑
62
∑
∑
∑
∑
∑
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arco
∑
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p
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∑
∑
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∑
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P
π
-
102
&
?
B
?
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&
&
&
?
44
44
44
44
44
44
44
44
44
A
B
Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
68
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∑
68
∑
∑
∑
68 ...˙gggg
.˙68
∑
∑
P
œ œb œis what
∑
∑
∑
∑
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∑
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∑
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.˙
∑
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pened.
∑
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∑
∑
w
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∑
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p
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π
∑
∑
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∑
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∑
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pizz.
∑
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œœ ..˙>
∑
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∑
w
∑
∑
f
P
-
103
&
?
B
?
?
&
&
&?
A
B
Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
∑
.˙ œnight a
74 œœ œœ- œœ. œœ œœ>
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74
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∑
74
∑
∑
p
74
P
∑
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˙˙ œœ œœ- œœ.
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˙ œ œ
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∑
∑
∑
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∑
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∑
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∑
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∑
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w
œ
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F
P
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arco
F
- -
104
&
?
B
?
?
&
&
&
?
A
B
Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
80
∑
∑
80
∑
˙ ˙˙ ˙b
˙ ˙b
80
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80 œœb Œœ œ
∑
∑
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œb œb œ œ œ œ œ œb3
5
∑
p
∑
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w
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w
∑
F
∑
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∑
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∑
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∑
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f
pizz.
F
F
105
&
?
B
?
?
&
&
&?
A
B
Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
jœ œ jœ ˙work ing class
∑
85 œœ œœ- œœ. œœ œœ
>
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.˙ œ
85
œœ œ œ œ œœœ# œ
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85
∑
∑
85
p
p
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œœ œ œ .œ jœthat weren't al lowed to
∑
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œœ œœ- œœ. œœ œœ- œœ.
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œ œœœ# œœ œ œœœ
œ
Œ œœœ# Œ œœœ˙ ˙
∑
∑
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∑
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.˙ œ
œ œ œœ œ œœœ œ
Œ ...˙˙˙#.˙ œ
∑
∑
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∑
œœ œœ- œœ. ˙
œœ œœ- œœ. ˙
˙ œ œ
œ œ œœœ# œœ œœœ œ
Œ œœœ# Œ œœœ˙ ˙
∑
∑
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∑
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˙ .œ Jœ
œ œœœ# œ œ œ œ œ
Œ œœœ# Œ œœœ˙ ˙
∑
∑
- - -
106
&
?
B
?
?
&
&
&?
43
43
43
43
43
43
43
43
43
A
B
Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
90
˙ .œ jœduced was a
∑
90 œœ œœ
- œœ. œœ œœ- œœ.
œ œœ- œœ. œœ œœ- œœ.
˙ ˙
90
œ œœœ# œœ œ œœœ
œ
Œ œœœ# Œ œœœ˙ ˙
90
∑
∑
jœ œ Jœ ˙work ing class
∑
˙> œœ œœ- œœ.
˙˙> œœ œœ- œœ.
˙ œ œ
œ œ œœ œ œœœ œ
Œ œœœ# Œ œœœ˙ ˙
∑
∑
œ œ .œ jœthat could be
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95
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101
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126
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130
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Gtr.
Pno.
146
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118
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43
43
43
43
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Vla.
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Bjo.
Gtr.
Pno.
151
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44
44
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Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
156
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44
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42
42
42
42
42
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A
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Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
162
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A
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Vla.
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Bjo.
Gtr.
Pno.
168
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Vla.
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Gtr.
Pno.
176
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44
44
44
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A
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D.B.
Bjo.
Gtr.
Pno.
∑
∑
183
w
w#w∑
183
∑
∑
183
∑
∑
Leisurely again, but still not too slowly (q = 132)
p
183
p
∑
∑
˙# ˙
˙ ˙w∑
∑
∑
∑
∑
∑
∑
˙ ˙
˙# ˙˙ ˙
∑
∑
∑
∑
∑
∑
∑
w
ww
∑
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∑
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ww
∑
∑
∑
∑
∑
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w
∑
∑
∑
∑
∑
∑
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w
w#w
∑
∑
∑
∑
∑
P
P
∑
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˙# ˙ ˙3
w
∑
∑
∑
∑
∑
124
&
?
B
?
?
&
&
&?
A
B
Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
192
∑
∑
192 .˙# œ
.˙ œw
∑
192
∑
∑
192
∑
∑
∑
∑
w
ww
∑
∑
∑
∑
∑
p
p
∑
∑
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∑
∑
∑
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∑
P
P
∑
∑
w
ww
∑
∑
∑
∑
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∑
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∑
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w
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∑
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p
p
125
&
?
B
?
?
&
&
&?
A
B
Vla.
Vc.
D.B.
Bjo.
Gtr.
Pno.
201
∑
∑
201 ww
ww
∑
201
∑
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201
∑
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∑
∑
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.
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∑
∑
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π
π
∑
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ww
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Œ
*
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°
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3
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p
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∑
126
&
&
&
B
?
?
&
&
&
##
##
##
##
##
##
##
##
##
44
44
44
44
44
44
44
44
44
Alto
Violin I
Violin II
Viola
Cello
Double Bass
Mandolin
Banjo
Guitar
∑
Œ ‰ jœ œ œ œ
˙ ˙
Œ ˙ œ
Jœ .œ Jœ .œ
∑
∑
∑
∑
Lively (q = 168)
pizz.
pizz.
pizz.
pizz.
f
f
f
f
∑
œ œ œ œ œ œ
˙ ˙
œ ˙ œ
Jœ .œ Jœ .œ
∑
∑
∑
∑
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˙ ˙
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Jœ .œ Jœ .œ
∑
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˙ Ó
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Ó
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pizz.
f
f
F
∑
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wwo
F
F
arco
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F
∑
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w
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P
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P
127
One of My Father's
Adam Hill
&
&
&
B
?
?
&
&
&
##
##
##
##
##
##
##
##
##
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
8
∑
Œ ‰ jœ œ œ œ
˙ ˙
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pizz.
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pizz.
f
f
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f
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f
f
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F
12
ad lib as desired
∑
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A
128
&
&
&
B
?
?
&
&
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##
##
##
##
##
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##
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A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
16
∑
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129
&
&
&
B
?
?
&
&
&
##
##
##
##
##
##
##
##
##
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
œ œ œ œ jœ œ jœMon ey is one of my fath
∑
∑
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24
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D
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f24
ad lib as desired
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∑
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∑
∑
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G
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∑
∑
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D
œ œ œ Ólion aire,
∑
∑
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∑
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A
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∑
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G
- - - - - - - -
130
&
&
&
B
?
?
&
&
&
##
##
##
##
##
##
##
##
##
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
29
œ œ œ Œ œlion aire. But
∑
∑
∑
∑
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29
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Œ œœœœŒ œœœœ œœœœ˙ ˙
A
A
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∑
∑
∑
∑
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∑
Œ œœœŒ œœœ˙ ˙
G
G
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∑
∑
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∑
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∑
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∑
∑
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jœ .œ jœ .œthat way .
∑
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P
∑
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D
arco
P
- - -
131
&
&
&
B
?
?
&
&
&
##
##
##
##
##
##
##
##
##
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
35
∑
∑
Ó Œ ‰ jœ
œ œ Jœ .œ
w
œ œ œ œ
35
œ œœœœœœ.œœœœ.œœœœ.
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arco
P
F
∑
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w
w
œ Œ œ Œ
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arco
P
Fas written
∑
œ# œ jœ# œ jœ
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∑
w
w
w
w
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Em/G
∑
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w
w
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‰ jœœœœ œœœœœœœœŒ œœœœ˙ ˙
132
&
&
&
B
?
?
&
&
&
##
##
##
##
##
##
##
##
##
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
jœ œ jœ jœ œ jœfath er had been a sales
w
w
w
w
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42
∑
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Œ œœœŒ œœœ˙ ˙
G
P
p
p
p
p
42
œ œ œ œ œman all his
∑
∑
∑
∑
œ Œ œ Œ
∑
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Œ œœœŒ œœœ˙ ˙
wlife.
∑
∑
∑
∑
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D
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∑
∑
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∑
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œ Œ œ Œ
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- - - - - -
133
&
&
&
B
?
?
&
&
&
##
##
##
##
##
##
##
##
##
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
48
wbonds.
∑
∑
∑
∑
œ Œ œ Œ
48
Œ ‰ Jœ œ> œœ
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A
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∑
∑
∑
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‰ jœœœœ œœœœ œœœœŒ œœœœ˙ ˙
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∑
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∑
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wæ
œ œ œœ œ œ œ œ
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p
- - - -
134
&
&
&
B
?
?
&
&
&
##
##
##
##
##
##
##
##
##
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
55
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∑
∑
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55
wæ
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F
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w
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- - -
135
&
&
&
B
?
?
&
&
&
##
##
##
##
##
##
##
##
##
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
61
∑
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61 wwæ
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f
f
f
f
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˙ ‰ jœœœœ œœœœ œœœœ˙ ˙
P
P
P
P
as written
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∑
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∑
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Œ œœœœ. Œ œœœœ
.
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G
p
63
ad lib as desired
ad lib as desired
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∑
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91
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D.B.
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119
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188
Three-Hundred-Twenty Acres
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&
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D.B.
Bjo.
Gtr.
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189
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&
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Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
18
∑
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190
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Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
∑
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191
&
&
&
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?
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Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
32
∑
32 jœ. œ>jœ œ œ
jœ. œ>jœ œ- œ-
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32
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192
&
&
&
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?
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42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
jœ œ jœ jœ œ jœThree hun dred twen ty ac
37
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( ˙
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37
ad lib as desired
jœ œ jœ œ œ œres of farm land,
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193
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42
42
42
42
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44
44
44
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Vln. I
Vln. II
Vla.
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D.B.
Bjo.
Gtr.
41
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41
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194
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44
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42
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Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
jœ œ jœ jœ œ JœThree hun dred twen ty ac
46
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·
(
.œ Jœo ˙
w
w
œ œœœ œ œ œ œœœ œ
Œ œœœŒ œœœ˙ ˙
G
- - - -
195
&
&
&
B
?
?
&
&
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
52
œ œcleared, he
52
˙
˙
·
)
˙
.œ Jœ
·
(
˙
52 œ œœœ œ
Œ œœœ œœœ˙
˙ ˙lost it.
.œjœ
·
( ˙
·
)
w
˙ .œ Jœo
˙
·
)˙
w
œ œœœ œ œ œœœ œ
Œ œœœ Œ œœœ˙ ˙F
∑
w
.œjœ
·
( ˙
·
)
˙ ˙
˙ .œJœ
·
(
w
œ œœœ œ œ œ œœœ œ
Œ œœœ œœœ Œ œœœ˙ ˙F/E
jœ .œ jœ œ jœEv en the good
.œ Jœo ˙
w
˙ .œ Jœo
˙
·
) ˙
∑
œ œœœ œ œ œ œœœ œ
Œ œœœ œœœ Œ œœœœœœœœ˙ ˙
F/D F/C
œ œ œ œ œyear was no
w
.œjœ
·
( ˙
·
)
˙ ˙
˙ .œJœ
·
(
∑
œ œœœ œ œ œ œœœ œ
Œ œœœŒ œœœ œœœ˙ ˙
G/B G
œ .˙good.
.œ Jœo ˙
w
˙ .œ Jœo
˙
·
) ˙
∑
œ œœœ œ œ œ œœœ œ
Œ œœœœ œœœœŒ œœœœ œœœœ˙ ˙
Am
-
196
&
&
&
B
?
?
&
&
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
58
∑
58 w
.œjœ
·
( ˙
·
)
˙ ˙
˙ .œJœ
·
(
∑
58 œ œœœ œ œ œœœ œ
Œ ˙ œœœœw
∑
.œ Jœo ˙
w
˙ .œJœ
·
(
˙
·
) ˙
∑
œ œ œœœ œœ œ œœœ œ
Œ œœœœŒ œœœœ˙ ˙
∑
w
.œjœ
·
( ˙
·
)
˙
·
) ˙
˙ .œJœ
·
(
∑
œ œ œœœ œ œ œœœ œ
Œ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœw
˙ jœ .œMen whom I'd
.œ Jœo ˙
w
˙ .œJœ
·
(
˙
·
) ˙
∑
œ œœœ œ œ œ œœœ œ
Œ œœœœŒ œœœ œœœ˙ ˙
f
f
f
f
f
f
61
œ œ jœ œ jœknown who'd lost their jobs,
w
.œ Jœo ˙
˙
·
) ˙
˙ .œJœ
·
(
∑
œ œœœ œ œ œ œœœ œ
Œ œœœœ œœœœŒ œœœœ˙ ˙
197
&
&
&
B
?
?
&
&
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
63
˙ œ œlost their
63 .œ Jœo ˙
w
˙ .œJœ
·
(
˙
·
) ˙
∑
63 œ œ œœœ œ œ œœœ œ
Œ œœœœœœœœŒ œœœœ
œœœœ˙ ˙
˙ œ œ œhomes, lost their fam'
w
.œ Jœo ˙
˙
·
) ˙
˙ .œJœ
·
(
∑
œ œœœ œ œ œ œœœ œ
Œ œœœœŒ œœœœ˙ ˙
œ ˙ œlies. And
.œ Jœo ˙
w
˙ .œJœ
·
(
˙
·
) ˙
∑
œ œœœ œ œ œ œœœ œ
Œ œœœœ Œ œœœœœœœœ˙ ˙
œ œ œ œ œ œworse than an y thing
w
.œ Jœo ˙
˙
·
) ˙
˙ .œJœ
·
(
∑
œ œœœ œ œ œœœ œ
Œ œœœœœœœœ Œ œœœœ
œœœœ˙ ˙
˙ Óelse,
.œ Jœo ˙
w
˙ .œJœ
·
(
˙
·
)˙
∑
œ œ œœœ œ œ œ œœœ œ
Œ œœœ Œ œœœ œœœ˙ ˙
- - -
198
&
&
&
B
?
?
&
&
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
68
Ó œ œ œlost be lief
68 w
.œ Jœo ˙
˙
·
) ˙
˙ .œJœ
·
(
∑
68 œ œ œœœ œ œ œœœ œ
Œ œœœ œœœ Œ œœœ˙ ˙
w
.œJœo ˙
w
˙ .œJœ
·
(
˙
·
)˙
∑
œ œ œœœ œ œ œ œœœ œ
‰jœœœ œœœ œœœ Œ œœœ œœœ
˙ ˙
˙ jœ .œin them
w
.œ Jœo ˙
˙
·
) ˙
˙ .œJœ
·
(
∑
œ œ œœœ œ œ œ œœœ œ
Œ œœœ œœœ ‰jœœœ œœœ œœœ
˙ ˙
œ .˙selves.
.œJœo ˙
w
˙ .œJœ
·
(
˙
·
)˙
∑
œ œ œœœ œ œ œ œœœ œ
Œ œœœ Œ œœœ œœœ˙ ˙
- -
199
&
&
&
B
?
?
&
&
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
72
∑
72w
.œ Jœo ˙
˙
·
) ˙
˙ .œJœ
·
(
∑
72
œ œ œœœ œ œ œ œœœ œ
‰jœœœ œœœ œœœ Œ œœœ œœœ
˙ ˙
∑
.œJœo
˙
˙
˙
·
)
∑
œ œœœ œ
‰jœœœ œœœ œœœ
˙
∑
˙ ˙
˙ .œ Jœo
.œJœ
·
( ˙
·
)
w
∑
œ œœœ# œ œ œ œœœ œ
Œ œœœb ‰jœœœ œœœ œœœ
˙ ˙Do
∑
˙ .œJœo
˙ ˙
w
.œJœ
·
( ˙
·
)
∑
œ œœœ œ œ œ œœœ œ
‰jœœœ œœœ œœœ ‰
jœœœ œœœ œœœ˙ ˙
Am
∑
˙
˙
.œJœ
·
(
˙
∑
œ œœœ œ
‰jœœœ œœœ œœœ
˙
200
&
&
&
B
?
?
&
&
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
ÓThey
77w
.œ Jœo ˙
˙
·
) ˙
˙ .œJœ
·
(
∑
77
œb œœœb œn œ œœœ œ
Œ œœœœbb Œ œœœœ
œœœœ˙ ˙
Ao
7
ƒ77
œ œwere
.œJœo
˙
˙
˙
·
)
∑
œb œœœb œn
‰jœœœœ
bb œœœœœœœœ
˙
˙ ˙de
˙ ˙
˙ .œ Jœo
.œJœ
·
( ˙
·
)
w
∑
œ œœœ# œ œ œ œœœ œ
Œ œœœb ‰jœœœ œœœ œœœ
˙ ˙Do
wstroyed,
˙ .œJœo
˙ ˙
w
.œJœ
·
( ˙
·
)
∑
œ œ œœœ œ œ œœœ œ
Œ œœœœœœœœ Œ
œœœœ˙ ˙
Am
ƒ
ƒ
ƒ
.˙ Œ
˙ ˙
˙ .œJœ
·
(
.œJœ
·
( ˙
·
)
w
∑
œ œ œœœ œœ œ œœœ œ
Œ œœœœœœœœ ‰
jœœœ œœœ œœœ˙ ˙
ƒ
∑
˙
˙
·
)
˙
.œJœ
·
(
∑
œ œ œœœ# œ
‰jœœœb œœœ œœœ
˙Do
-
201
&
&
&
B
?
?
&
&
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
83
∑
83
.œJœo ˙
w
˙ .œJœ
·
(
˙
·
) ˙
∑
83
œ œ œœœ œ œ œ œœœ œ
‰jœœœ œœœ œœœ ‰
jœœœ œœœ œœœ˙ ˙
Am
Ó Œ œthey
w
.œJœ
·
( ˙
·
)
˙
·
) ˙
˙ .œJœ
·
(
∑
œ œ œœœ œ œ œ œœœ œ
‰jœœœ œœœ œœœ ‰
jœœœ œœœ œœœ˙ ˙
˙
.œJœo
˙
˙
˙
·
)
∑
œ œ œœœ œ
‰jœœœ œœœ œœœ
˙
.˙ œ#were de
˙ ˙
˙ .œJœ
·
(
.œJœ
·
( ˙
·
)
w
∑
œb œœœb œn œ œ œœœ# œ
Œ œœœœbb Œ œœœb
˙ ˙Ao
7 Do
œ .˙stroyed,
˙ .œJœo
˙
·
) ˙
w
.œJœ
·
( ˙
·
)
∑
œn œ œœœ œœ œ œœœ œ
‰jœœœ œœœ œœœ ‰
jœœœ œœœ œœœ˙ ˙
Am
w
˙ ˙
˙ .œJœ
·
(
.œJœ
·
( ˙
·
)
w
∑
œ œ œœœ œ œ œ œœœ œ
‰jœœœ œœœ œœœ ‰
jœœœ œœœ œœœ˙ ˙
-
202
&
&
&
B
?
?
&
&
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
89
∑
89
˙ .œJœo
˙
·
) ˙
w
.œJœ
·
( ˙
·
)
∑
89
œb œœœb œn œ œ œœœ# œ
Œ œœœœbb Œ œœœb
˙ ˙Ao
7 Do
Ó ˙they
˙ ˙
˙ .œJœ
·
(
.œJœ
·
( ˙
·
)
w
∑
œn œ œœœ œ œ œ œœœ œ
‰jœœœ œœœ œœœ ‰
jœœœ œœœ œœœ˙ ˙
Am
œ ˙ œwere de
˙ .œJœo
˙
·
) ˙
w
.œJœ
·
( ˙
·
)
∑
œb œœœb œn œ œœœ œ
‰jœœœœ
bb œœœœœœœœ ‰
jœœœœœœœœœœœœ
˙ ˙
Ao
7
wstoyed
˙ ˙
˙ .œJœ
·
(
.œJœ
·
( ˙
·
)
w
∑
œ œœœb œ œb œœœ œ
‰jœœœœ
bb œœœœœœœœ ‰
jœœœœœœœœœœœœ
˙ ˙
w
˙ .œjœ
˙
·
) ˙
w
.œ Jœ
·
( ˙
·
∑
œb œœœœ œ œœœ
œ
Œ œœœœb Œ œœœœ˙ ˙Gm
93
-
203
&
&
&
B
?
?
&
&
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
94
w
94
˙
˙
˙ .œJœ
·
(
.œJœ
·
( ˙
·
)
˙
·
)
∑
94
œb œœœœ œ œ œœœ
œ
Œ œœœœb œœœœ ‰jœœœœ œœœœ œœœœ˙ ˙
w
.œjœ ˙
˙
·
) ˙
˙ .œJœ
·
(
∑
∑
œ œb œœœœ œ œ œœœ
œ
‰jœœœœb œœœœ œœœœ ‰
jœœœœ œœœœ œœœœ˙ ˙
.˙ Œmen.
˙ .œjœ
.œJœ
·
( ˙
·
)
˙
·
) ˙
∑
∑
œ œb œœœœ œ œœœ
œ
Œ œœœœb Œ œœœœ˙ ˙
as written
∑
˙
˙
˙ .œJœ
·
(
.œbJœ
·
( ˙
·
)
∑
∑
œ œœœb œ œ œœœ œ
Œ œœœœb œœœœŒ œœœœ˙ ˙
Ó Œ œA
.œjœ ˙
˙
·
) ˙
wb
∑
∑
œ œœœb œ œ œœœ œ
Ó ˙bw
f
204
&
&
&
B
?
?
&
&
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
99
˙ œ œ œman can en dure
99w
˙b .œjœ
.œJœ
·
( ˙
·
)
∑
∑
99 œ œœœb œ œ œ œœœ œ
Ó ˙˙bw
f
f
f
.˙ œa
.œjœ ˙
˙˙b
w
∑
∑
œ œœœb œ œ œ œœœ œ
Ó ˙˙bw
˙ Œ œ œlot if he
w
˙ .œ jœ
.œ jœ ˙
∑
∑
œ œœœn œ œ œ œœœ œ
Œ œœœœœnbŒ œœœœœ˙ ˙
˙ œb œstill has
.œjœ ˙
˙˙
w
∑
∑
œ œœœn œ œ œ œœœ œ
Ó ˙˙bw
˙
˙
˙
˙
∑
∑
œ œœœœ
Œ œœœœœb˙
˙ ˙hope.
w
w
w
Ó˙
·
(
Óo
œb œœœ œ ˙
wwwwbb
F
P
P
P
P
P
∑
˙b ˙
˙ ˙
w
˙
·
w
œb œœœ ˙
˙˙ ˙
-
205
&
&
&
B
?
?
&
&
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
106
∑
106 ˙ ˙
˙ ˙
˙ ˙
˙
·
w
106
œb œœœ œ ˙
wwwwbb
∑
w
w
wb
˙
·
w
œb œœœ ˙
˙˙ ˙
∑
.˙ œ
.˙ œ
.˙ œ
˙
·
w
˙b ˙
wwwwbb
∑
˙
˙
˙
˙
·
˙
˙
˙˙
∑
wb
w
w
˙
·
w
œb œœœ ˙
wwwww
∑
˙
˙
˙
˙
·
˙
˙b
˙˙bb
∑
w
w
wb
˙
·
w
wwwb
wwww
∑U
wU
wU
wU
˙
·
U)
wU
wU
wwwwU
p
p
p
p
P
p
206
&
&
&
B
?
?
&
&
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
jœ œ jœ jœ œb JœbThree hun dred twen ty ac
114 wb
˙ .œ jœ
wb
∑
∑
114 œ œœœbb œ œ œb œœœ œ
∑
P
P
P
f
F
114
Jœ œb Jœ œ œ œbres of farm land,
w
.˙œ
˙ .œJœo
∑
∑
œœœbb œœœ œ œ œ œœœ œ
∑
œ Œ
˙
˙
˙
∑
∑
œb œ œœœbb œ
∑
˙b jœ .œbfine land,
˙ .œ jœ
·
(
wb
œ .˙b
∑
∑
œb œœœb œ œ œ œœœ œ
∑
- - -
207
&
&
&
B
?
?
&
&
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
118
Ó Œ œmy
118 ..
˙
·
) œ
˙ .œjœ
w
∑
∑
118 œb œœœb œ œ œœœ œ
∑
jœ œ jœ œ œun cle owned and
wb
.˙œ
w
∑
∑
œ œœœb œ œ œ œœœ œ
∑
˙bcleared,
˙
˙
˙
∑
∑
œb œœœ œ
∑
˙ Ó
wb
w
.œbJœo ˙
∑
∑
œb œœœb œ œ œ œœœ œ
∑
∑
w
w
œ .˙b
∑
∑
œb œœœb œ œb œœœ œ
∑
-
208
&
&
&
B
?
?
&
&
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
A
Vln. I
Vln. II
Vla.
Vc.
D.B.
Bjo.
Gtr.
Jœb œ Jœ Jœ œ JœbThree hun dred twen ty ac
123wb
˙b .œ jœ
·
(
w
∑
∑
123 œb œœœb œ œ œ œœœ œ
∑
123
Jœ œb Jœ œb œb œres of farm land,
˙ .œ jœo
.
.˙
·
) œb
w
∑
∑
œb œœœb œ œ œ œœœ œ
∑
œ Œ
˙
˙
˙
∑
∑
œ œœœbb œ
∑
Œ .˙bfine
œ.˙b
w
wb
∑
∑
œb œœœb œ œ œ œœœ œ
∑
jœ .œb Œ œland, my
w
˙ .œ jœ
·
(
w
∑
∑
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209
&
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42
42
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42
44
44
44
44
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44
44
A
Vln. I
Vln. II
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D.B.
Bjo.
Gtr.
128 jœ œ jœ œ œunc le owned and
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133
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134
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211
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Vln. I
Vln. II
Vla.
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D.B.
Bjo.
Gtr.
138
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212
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D.B.
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143
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213
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Baritone
Violin I
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216
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44
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43
43
43
43
43
43
43
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44
44
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B
Vln. I
Vln. II
Vla.
Mdn.
Pno.
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217
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43
43
43
43
43
43
43
44
44
44
44
44
44
44
42
42
42
42
42
42
42
B
Vln. I
Vln. II
Vla.
Mdn.
Pno.
11
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42
42
42
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42
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44
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B
Vln. I
Vln. II
Vla.
Mdn.
Pno.
16
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42
42
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43
43
43
43
43
43
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B
Vln. I
Vln. II
Vla.
Mdn.
Pno.
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43
43
43
43
43
43
43
44
44
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44
44
44
44
B
Vln. I
Vln. II
Vla.
Mdn.
Pno.
29
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3
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221
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&
&
B
&
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Vln. I
Vln. II
Vla.
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Pno.
32
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&
&
B
&
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42
42
42
42
42
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Vln. I
Vln. II
Vla.
Mdn.
Pno.
36
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223
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&
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42
42
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44
44
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44
44
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42
42
42
42
42
42
43
43
43
43
43
43
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B
Vln. I
Vln. II
Vla.
Mdn.
Pno.
39 œ Œ
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224
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&
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43
43
43
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43
42
42
42
42
42
42
42
44
44
44
44
44
44
44
B
Vln. I
Vln. II
Vla.
Mdn.
Pno.
.œ œ œb œ Œter rib le guilt
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225
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&
&
B
&
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B
Vln. I
Vln. II
Vla.
Mdn.
Pno.
49
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226
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&
&
B
&
&
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B
Vln. I
Vln. II
Vla.
Mdn.
Pno.
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- - - - - -
227
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&
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42
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43
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44
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44
44
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B
Vln. I
Vln. II
Vla.
Mdn.
Pno.
57 œb œ œ œ œ œ œ Œeas i er on your self.
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60
Jœb œ Œ ‰ Jœ3
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- - - -
228
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&
&
B
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44
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43
43
43
43
43
43
43
44
44
44
44
44
44
44
42
42
42
42
42
42
42
B
Vln. I
Vln. II
Vla.
Mdn.
Pno.
√
62 œ œb Œ Ómon ey.
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229
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43
43
43
43
43
43
44
44
44
44
44
44
44
B
Vln. I
Vln. II
Vla.
Mdn.
Pno.
67
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230
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&
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
Alto
Baritone
Violin I
Violin II
Viola
Cello
Double Bass
Mandolin
Banjo
Guitar
Piano
∑
∑
∑
Œ Œ œb
˙b œb
˙b œb.˙b
∑
∑
˙b œœb
∑
∑
With a bounce (q = 128)
p
p
p
p
p
∑
∑
˙b ˙b
˙b ˙b
wb
ww
˙b ˙b
Ó Œ œb œb
œœ ˙bbb œœœ
∑
∑
p
p
p
∑
∑
œb >
œ ˙b>
œ ˙b>
œ ˙b>œ ˙b>
...˙˙b
œb œb ˙b>
œœœ ˙bbb >
Œ˙bb>
∑
P
P
∑
∑
˙
˙
˙
˙
˙
˙˙
‰ Jœ œb œb
˙
œœ œ œb œb
∑
∑
∑
∑
Œ œb
œb œb
œb œb
˙b
∑
œb Œ
œb œœb
˙b
˙bbb
p
p
P
P
P
P
P
231
We Had So Little
Adam Hill
&
?
&
&
B
?
?
&
&
&
&
&
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
6
∑
∑
6
œ ˙
œ ˙
.˙
.˙
.˙
6
œ ˙
Œ Œ œb œb
œœ ˙bbb
6
..˙
...˙
P
P
F
∑
∑
˙ >
˙ >
˙ >
˙ ˙b>˙ ˙b>
wwwn
œb œb œb œ >
˙ ˙bbb >
Ó˙bb>
∑
F
F
F
F
F
f
F
F
f
∑
∑
˙ Œ
˙ Œ
˙ Œ
˙ Œ˙
Œ
˙˙ Œ
‰ Jœ œ œ œ œ
˙ Œ
œœ œ œœ œ œ
∑
P
P
P
P
∑
∑
∑
Œ Œ œ
˙ œ
˙ œ.˙
∑
œ Œ Œ
˙ œœ
.˙
...˙
p
p
p
P
P
p
p
∑
∑
œb ˙b
œb ˙b
.˙b
.˙
.˙
œb ˙b
Œ Œ œ œb
˙ œœ
.˙
...˙
p
p
p
∑
∑
œb .>
œ .˙b>
œ .˙b>
œ .>
œ.>
wwwb
œ œ œ> Ó
œœ ˙>
œœ
Œ..˙>
∑
P
P
∑
∑
˙
˙
˙
˙
˙
˙˙
‰ Jœb œb œ
˙
œœ œb œb œ
∑
232
&
?
&
&
B
?
?
&
&
&
&
&
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
13
∑
∑
13
Ó œ œ
Œ œ œ œ
œ œ ˙
œ .˙
w
13
Ó œ œœ
œ Œ Œ œ œ
œ ..˙
13ww#
ww
p
p
P
P
P
P
P
P
P
P
∑
∑
.˙ œ>
.˙ œ>
œ .>
œ .>
.˙ œ>
wwwn
œ œ œ œ œœ>
œœ ˙ œœ>
Ó Œœœœ>
Œ ..˙P
F
F
F
F
F
F
F
F
F
∑
∑
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
.˙Œ
...˙˙ Œ
‰ Jœ œ# œ œ œ œ œ œ œ#
..˙Œ
œœœœ# œ œ œ œ
œ œ
∑
∑
∑
∑
Ó ˙#
˙ ˙#
˙ ˙#w
∑
œ Œ Ó
Œ ˙ œœ#
ww#
ww
f
f
P
P
P
P
P
∑
∑
˙b œ
˙b œ
.˙b
.˙
.˙
˙b œœ
Œ Œ œ œb
œœ ˙
∑
∑
P
P
F
∑
∑
.˙ œ>
.˙ œ>
.˙ œb>
.˙ œ#>
.˙ œ>
www
œ œ# œn œ œ# œ>
œœ ˙# œœ>
Ó Œ œœœ#>
Œ ..˙#
f
f
F f
F
F
F
F
F
F
233
&
?
&
&
B
?
?
&
&
&
&
&
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
19
∑
∑
19 .˙Œ
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
19
∑
‰ Jœ œ# œn œ œ# œ œ# œ œ# œ
ww
19 œœœ œ# œn œ œ# œ œ# œ œœ##
∑
∑
∑
Ó œ œ#
Œ œ# œ œ#
œ œ# ˙n
œ .˙#
w
Ó œn œœ#
œ Œ Ó
œ ..˙#
www###
ww#
ƒ
ƒ
f
f
f
f
f
f
f
∑
∑
w#
w
w
w
w
www#
Œ ‰ Jœ œ# œ œ#
œœ ˙# œœœ
∑
∑
∑
∑
w
w
w
w
w
œ œœ#...˙˙
#
Œ ‰ œ# œ œ# œ# œ
œœœ ˙# œœœ
∑
∑
f
∑
∑
.˙ œ#
.˙ œ#
.˙ œ#
.˙ œ
.˙ œ#
Œ ...˙˙##
Œ ‰ jœ# œ œ œ#
œœœ˙˙## œœœœ
Œ ˙˙˙## œœœ∑ ?
pizz.
P
P
P
P
P
FP
P
P
234
&
?
&
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B
?
?
&
&
&
&
?
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
24
∑
∑
24 w
w
w
w
˙ œ œ#
24
Œ ‰ œ œœ#˙˙#
Œ ‰ œ# œ# œ œ# œ#
œœœœ˙˙## œœœœ
24
...˙˙˙ œœœ##
˙ œœ œ#
F
∑
∑
w
w
w
w
˙ œ œ#
Œ ...˙˙##
Œ ‰Jœ œ# œ œ#
œœœœ˙˙## œœœœ
...œœœjœœœ## œœœ œœœ
˙ œœ œ#
P
∑
∑
˙ ˙
˙ ˙
˙ ˙#
˙ ˙#
˙ œ œ#
‰ ...œœœ## ˙
˙
‰ œ# œ œ# œ œ ‰ jœ#
œœœœ˙˙## œœœ
...œœœjœœœ## œœœ œœœ
˙ œœ œ#
p
p
p
p
∑
Jœ.œ œ œ œ
We had so lit tle
w
w
w
w
˙ ˙
‰ ...œœœ ‰ ...
œœœ
Jœ œ Jœ œ œœ
œœœ ˙ œœœw
jœœœ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
p
P
P
p
f
27
∑
œ .œ œ œ œ Œmon ey in the bank,
˙ ˙
˙ ˙
˙ œ œ
˙ œ œ
œ œ ˙
‰ ...œœœ ‰ ...
œœœ
Jœ œ Jœ œ œœ
œœœ ˙ œœœw
jœœœ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
- -
235
&
?
&
&
B
?
?
&
&
&
&
?
#####
#####
##########
#####
#####
#####
#####
#####
#####
#####
#####
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
29
∑
Jœ .œ œ œ œwe had so lit tle
29 w
w
w
w
˙ œ œ
29
‰ ...œœœ ‰ ...
œœœ
Jœ œ Jœ œ œœ
Œ ˙˙
œœœœœw
29
‰ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
∑œ .œ œ œ œ Œ
mon ey in the bank
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
‰ ...œœœ ‰ ...
œœœ
Jœ œ Jœ œ œœ
œœœœœœœœœœ
Œ œœœ˙ ˙
‰ œœœjœœœ ‰ œœœ
jœœœ˙ œœ œ
∑
œ œ œ Jœ œ œev en if the bank was
w
w
w
w
œ œ ˙
‰ ...œœœ ‰ ...
œœœ
Jœ œ Jœ œ œœ
œœœ ˙ œœœw
jœœœ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
∑
.œ Jœ œ .œ œn œ#closed it did n't mat ter
˙ ˙
.˙ œ
˙ ˙
˙ œ œ
˙ œ œ
‰ ...œœœ
‰ ...œœœ
Jœ œ Jœ œ œ œ
Œ ˙˙
œœœœœw
‰ œœœjœœœjœœœ œœœ
jœœœ˙ œœ œ
∑
œ Œ Ómuch
˙ ˙
w
w
w
œ œ œ œ
‰ œœœjœœœ Œ œœœ
Jœ œ Jœ œ œ œ
Œ œœœjœœœ ...œœœ˙ ˙
‰ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
- - - - -
236
&
?
&
&
B
?
?
&
&
&
&
?
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
34
∑
∑
34 ˙ ‰ Jœ- œ- œ-
˙ ‰ Jœ- œ- œ-
˙ ‰ Jœ- œ- œ-
˙ ‰ Jœ- œ- œ-
jœ œ jœ œ œ œ
34
‰ œœœjœœœ ‰ œœœ
jœœœ
œ œ œ œ œ œ œ œ œ œ
jœœœ ...œœœ œœœ œœœ œœœ œœœ˙ ˙
34 jœœœ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
F
F
F
F
jœ .œ œ œ œWe had so lit tle
Jœ.œ œ œ œ
We had so lit tle
.> œ>
.> œ>
.> œ>
.> œ>
œ œ œ œ
‰ œœœjœœœ
jœœœœœœ
jœœœ
œ œ œ œ œ œ œ œ œœ œ œ
jœœœ œœœjœœœ
jœœœ œœœjœœœ˙ œ œ
jœœœ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
f
P
P
P
P
35
œ .œ œ œ œ Œmon ey in the bank,œ .œ œ œ œ Œmon ey in the bank,
˙ ˙
˙ ˙
˙ ˙
˙ ˙
œ œ œ œ
jœœœœœœ
jœœœjœœœœœœ
jœœœ
œ œ œ œ œ œ œ œ œ œ œ œ
jœœœ œœœjœœœ
jœœœ œœœjœœœ˙ œ œ
jœœœ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
jœ .œ œ œ œwe had so lit tle
Jœ.œ œ œ œ
we had so lit tle
w
w
w
w
œ œ œ œ
jœœœœœœ J
œœœ Jœœœœœœ J
œœœ
œ œ œœ œ œ œ œ œ œ œ œ
jœœœ œœœœjœœœœ
jœœœœ œœœœjœœœœ˙ œ œ
‰ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
- - -
- - -
237
&
?
&
&
B
?
?
&
&
&
&
?
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
38 œ .œ œ œ œ Œmon ey in the bankœ .œ œ œ œ Œmon ey in the bank
38 ˙ ˙
˙ ˙
˙ ˙
˙ ˙
œ œ œ œ
38
Jœœœœœœ J
œœœ Jœœœœœœ
jœœœ
œ œ œ œ œ œ œ œ œ œ œ œ
jœœœœ œœœœjœœœœ
jœœœœ œœœjœœœ
˙ ˙
38
‰ œœœjœœœ ‰ œœœ
jœœœ˙ œœ œ
œ œ œ jœ œ œev en if the bank was
œ œ œ Jœ œ œev en if the bank was
w
w
w
w
œ œ œ œ
jœœœœœœ
jœœœjœœœœœœ
jœœœ
œ œ œ œ œ œ œ œ œ œ œ œ
jœœœ œœœjœœœ
jœœœ œœœjœœœ˙ œ œ
jœœœ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
.œ jœ œ .œ œn œ#closed it did n't mat ter.œ Jœ œ .œ œ œclosed it did n't mat ter
w
w
w
w
œ œ œ œ
jœœœœœœ J
œœœ Jœœœ œœœ J
œœœ
œ œ œ œ œ œ œ œ œ œ œ œ
jœœœ œœœœjœœœœ
jœœœœ œœœœjœœœœ˙ œ œ
‰ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
œ Œ Ómuch.
œ Œ Ómuch.
œ .˙
.˙ œ
.˙ œ
œ .˙
œ œ œ œ
Jœœœ œœœ
jœœœjœœœœœœ
jœœœ
œ œœ œ œ œ œ œ œ œœ œ
jœœœœ œœœjœœœ
jœœœ œœœjœœœœ œ œ œ
‰ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
- - - -
- - - -
238
&
?
&
&
B
?
?
&
&
&
&
?
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
42
Jœ .œ œ œ œWe had so lit tle
Jœ.œ œ œ œ
We had so lit tle
42 œ .˙
˙ ˙
˙ ˙
œ .˙
œ œ œ œ
42 jœœœœœœ
jœœœjœœœœœœ
jœœœ
œ œ œ œ œ œ œ œ œ œ œ œ
jœœœ œœœjœœœ
jœœœ œœœjœœœ˙ œ œ
42 jœœœ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
jœ .œ .œ jœmon ey in the
Jœ .œ .œ Jœmon ey in the
w
˙ ˙
w
˙ ˙
œ œ œ œ
jœœœœœœ
jœœœjœœœœœœ
jœœœ
œ œ œ œ œ œ œ œ œ œ œ œ
jœœœ œœœjœœœ
jœœœ œœœjœœœ˙ œ œ
jœœœ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
wbank
wbank
˙ ˙
w
˙ ˙
w
œ œ œ œ
jœœœœœœ Jœœœ J
œœœ œœœ Jœœœ
œ œ œ œ œ œ œ œ œ œ œ œ
jœœœ œœœœjœœœœ
jœœœœ œœœœjœœœœ˙ œ œ
‰ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
œ ‰ jœ œ .œ œn œ#it did n't mat ter
œ ‰ Jœ œ .œ œ œit did n't mat ter
w
w
w
w
œ œ œ œ
Jœœœ œœœ J
œœœ Jœœœ œœœ J
œœœ
œ œ œ œ œ œ œ œ œ œ œ œ
jœœœœ œœœœjœœœœ
jœœœœ œœœœjœœœœ˙ œ œ
jœœœ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
- - - -
- - - -
239
&
?
&
&
B
?
?
&
&
&
&
?
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
46
œ Œ Ómuch.
œ Œ Ómuch.
46
w
w
w
w
œ œ œ œ
46
Jœœœ œœœ
jœœœjœœœœœœ
jœœœ
œ œ œ œ œ œ œ œ œ œ œ œ
jœœœœ œœœjœœœ
jœœœ œœœjœœœ˙ œ œ
46
‰ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
∑
∑
˙ Ó
˙ ˙
˙ ˙
˙ ˙
œ œ œ œ
jœœœœœœ
jœœœjœœœœœœ
jœœœ
œ œ œ œ œ œ œ œ œ œ œ œ
jœœœ œœœjœœœ
jœœœ œœœjœœœ˙ œ œ
jœœœ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
p
∑
∑
‰ œ Jœ œ œ œ œ
˙ Ó
w
w
.œ jœ œ œ
jœœœœœœ
jœœœjœœœœœœ
jœœœ
œ œ œ œ œ œ œ œ œ œ
jœœœ œœœjœœœ
jœœœ œœœjœœœ˙ œ œ
jœœœ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
f
p
48
∑
∑
.œ Jœ œ œ
‰ œ Jœ œ œ œ œ
˙ Ó
w
.œ jœ œ œ
‰ œœœ Jœœœ J
œœœœœœ J
œœœ
œ œ œ œ œ œ œ œ œ œ
‰ œœœjœœœ
jœœœ œœœjœœœ˙ œ œ
‰ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
f
p
240
&
?
&
&
B
?
?
&
&
&
&
?
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
50
∑
∑
50 w
.œ Jœ œ œ
‰ œ jœ œ œ œ œ
˙Ó
.œn jœ œn œ
50
‰ œœœn
Jœœœ J
œœœœœœ J
œœœ
œ œ œ œn œ œ œ œ
‰ œœœœnjœœœœ
jœœœœ œœœœjœœœœ˙n œ œ
50
‰ œœœjœœœ
jœœœ œœœjœœœ
˙nn œœ œ
f
p
∑
∑
w
w
.œ Jœ œ œ &
‰ œ Jœ œ œ œ œ
.œ jœ œ œ
‰ œœœ Jœœœ Jœœœœœœ J
œœœ
œ œ œ œ œ œ œ œ
‰ œœœœjœœœœ
jœœœœ œœœœjœœœœ˙ œ œ
‰ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
f
∑
∑
w
wn
wn.œn
Jœ œ œn
.œn jœ œn œ
‰ œœœnn Jœœœ J
œœœ...œœœ
œn œ œn œn œnœ œ œ œ
‰ œœœnnnjœœœ
jœœœ œœœjœœœ˙n œ œn
‰ œœœnnjœœœjœœœ œœœ
jœœœ
˙nn œœ œn
∑
∑
˙ œ œn
˙ œ œn
˙n œ œ
˙n œ œ&
.œ jœ œ œ
Œ ˙nn 朜næ
œn œn œn œ œ œ œ œ œ
‰ œœnnjœœ
jœœ œœjœœ
˙ œ œn
‰ œœœnnjœœœjœœœ œœœ
jœœœ
˙ œœ œn
241
&?
&
&
&
&
?
&
&
&
&
?
##########
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
54
∑
∑
54
‰ œn Jœ œn œ
‰ œn Jœ œn œn
‰ œn Jœ œ œn
‰ œn jœ œ œn
.œn jœ œn œ
54 ˙nn æ˙næ
œn œn œn œn œ œ œ œ
‰ œœœœnnnnjœœœœjœœœœ œœœœ
jœœœœ˙n œ œn
54
‰ œœœnnnjœœœjœœœ œœœ
jœœœ
˙nn œœ œn
∑
∑
w
.˙ œ
˙# ˙
œ# œ Ó
œ œ œ œ
wwæ
œ œ œ œ œ œ œ œ
Œ ˙˙
œœœœw
‰ œœœjœœœjœœœ œœœ
jœœœ
˙ œœ œ
∑
∑
w
œ œ œ Œ
œ Œ Ó
∑
œ œ œ œ
wwæ
œ œ ˙
œœœœ˙˙
œœœœw
jœœœ œœœjœœœjœœœ œœœ
jœœœ
˙ œœ œ
∑
∑
wn
∑
∑
∑
œ œ ˙
wwn æ
∑
Œ ....˙˙bbbn
Œ ....˙˙˙nn
ww
∑
∑
w
∑
∑
∑
w
wwn
∑
wwwwb
wwww
ww
∑
∑
Œ œn
∑
∑
∑
∑
∑
∑
∑
∑
∑
p
242
&
?
&
&
&
&
?
&
&
&
&
?
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
44
44
44
44
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
∑
Ó œ œI have
60 w
∑
∑
∑
˙ ˙
60
∑
jœ œ Jœ œ œ œ
Œ œœœœ œœœœ‰ jœœœœ œœœœ œœœœ˙ ˙
60
∑
∑
P
P
P
60
∑
.œ Jœ Jœ œjœ
a re al fear
.˙ Œ
∑
∑
∑
˙ œ œ
∑
œ œ œjœ œ Jœ
Œ œœœœ œœœœ‰ jœœœœ œœœœ œœœœ˙ ˙
∑
∑
∑
˙ Ó
Ó œ œ
∑
∑
∑
˙ .œ jœ
∑
jœ œ Jœ œ œ œ
Œ œœœœ œœœœŒ œœœœ œœœœ˙ ˙
∑
∑
∑
∑
˙
∑
∑
∑
œ œ
∑
œ œ œ œ
‰ jœœœœ œœœœ œœœœ˙
∑
∑
∑
Œ ˙ œI have
w
∑
∑
∑
˙ ˙
∑
jœ œ Jœ œ œ œ
Œ œœœœ œœœœ‰ jœœœœ œœœœ œœœœ˙ ˙
∑
∑
Ó Œ œa
.œ Jœ œ œa re al
Ó Œ œ
∑
∑
∑
.œ Jœ œ œ
∑
œ œ œ œ œ œ
Œ œœœœ œœœœ‰ jœœœœ œœœœ œœœœ˙ ˙
∑
∑
- -
243
&
?
&
&
&
&
?
&
&
&
&
?
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
66
˙ œ œ œ œfear of be ing
wfear,
66 w
∑
∑
∑
˙ œ œ
66
∑
jœ œ Jœ œ œ œ
Œ œœœœ œœœœŒ œœœœ œœœœ˙ ˙
66
∑
∑
œ œ ˙trapped.
w
˙Ó
∑
∑
∑
.œ jœ œ œ
∑
œ œ œ jœ œ Jœ
Œ œœœœ œœœœŒ œœœœ œœœœ˙ ˙
∑
∑
∑
∑
Œ œ
∑
∑
∑
œ œ
∑
œ œ œ œ
‰ jœœœœ œœœœ œœœœ˙
∑
∑
∑
Ó Œ œa
w
∑
∑
∑
˙ ˙
∑
jœ œ Jœ œ œ œ
Œ œœœœ œœœœ‰ jœœœœ œœœœ œœœœ˙ ˙
∑
∑
Œ ‰ jœ œ œa re al
˙ Œ œfear, a
w
∑
∑
∑
˙ œ œ
∑
œ œ œ œ œ œ
Œ œœœœ œœœœ‰ jœœœœ œœœœ œœœœ˙ ˙
∑
∑
- -
244
&
?
&
&
&
&
?
&
&
&
&
?
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
71
.œ jœ jœ œ jœfear of be ing trapped
wfear
71
∑
∑
∑
∑
˙ œ œ
71
∑
jœ œ Jœ jœ œ Jœ
Œ œœœœ œœœœŒ œœœœ œœœœ˙ ˙
71
∑
∑
œ ˙ œin to
˙ Œ œa
Œ œ˙
∑
∑
∑
.œ jœ œ œ
∑
œ œ œ jœ œ Jœ
Œ œœœœ œœœœŒ œœœœ œœœœ˙ ˙
∑
∑
.˙ œmore than
wfear,
w
∑
∑
∑
œ ˙ œ
∑
jœ œ Jœ œœ œ
Œ œœœœ œœœœŒ œœœœ œœœœ˙ ˙
∑
∑
œ œ ˙I need.
w
Ó Œœ
∑
∑
∑
˙ ˙
∑
œ œ œ jœ œ Jœ
Œ œœœœ œœœœ‰ jœœœœ œœœœ œœœœ˙ ˙
∑
∑
w
∑
w
∑
∑
∑
.œ Jœ œ œ
∑
jœ œ Jœ œœ œ
‰ jœœœœ œœœœ œœœœŒ œœœœ œœœœ˙ ˙
∑
∑
∑
∑
˙
∑
∑
∑
œ œ
∑
œ œ œ œ
‰ jœœœœ œœœœ œœœœ˙
∑
∑
- -
245
&
?
&
&
&
&
?
&
&
&
&
?
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
44
44
44
44
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
.œ Jœ ˙I've got
.œ Jœ œ œI've got a
77w
∑
∑
∑
˙ ˙
77
∑
Jœ œ Jœ œ œ œ
Œ œœœ œœœ‰ jœœœ œœœ œœœ˙ ˙
77
∑
∑
77
.˙ Œ
.œ Jœ œ œ œsuit on and that's
Ó Œ œ
∑
∑
∑
.œ jœ œ œ
∑
œ œ œ Jœ œ Jœ
Œ œœœ œœœ‰ jœœœ œœœ œœœ˙ ˙
∑
∑
∑
œ œ œ œ œa bout all I
.˙ œ
∑
∑
∑
.œ Jœ œ œ
∑
jœ œ Jœ œœ œ
Œ œœœœ œœœœŒ œœœœ œœœœ˙ ˙
∑
∑
Œ ‰ jœ œ œ œI've got
wwant.
w
∑
∑
∑
˙ ˙
∑
œ œ œ Jœ œ Jœ
Œ œœœ œœœ‰ jœœœ œœœ œœœ˙ ˙
∑
∑
œ œall I
∑
Œœ
∑
∑
∑
.œ Jœ
∑
œ œ œ œŒ œœœ œœœ˙
∑
∑
P
wwant.
∑
w
Ó ˙
∑
∑
˙ .œ Jœ
∑
œœ œ# œ œ œ œ œŒ œœœœœ#
œœœœœœœœœœœœœœœœœœœœw
∑
∑ &
P
-
246
&
?
&
&
&
&
?
&
&
&
&
&
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
#####
42
42
42
42
42
42
42
42
42
42
42
42
n####
n####
n####
n####
n####
n####
n####
n####
n####
n####
n####
n####
44
44
44
44
44
44
44
44
44
44
44
44
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
83
∑
∑
83
w
w
Œ .˙
∑
.œ jœ œ œ
83
∑
œ# œ œ œ œ œ œ œ
Œ œœœœ#œœœœ‰ jœœœœ
œœœœœœœœ˙ ˙
83
Œ œ œœ#˙˙#
jœ ..œœ ˙
P
P
∑
∑
w
w
wn
Ó Œ œ
˙n œ œ
˙˙nn æ ˙
˙
œ œ œn œ œ œ œ œ
Œ œœœn œœœ ‰jœœœ œœœ œœœ˙n ˙
Œ œ œœ˙˙
jœn ..œœ ˙
P
π
∑
∑
w
wn
w
w
.œ jœ œ œ
....˙˙æ
œœœœœ œ œ œ œ œ œ œ
Œ œœœ œœœ‰ jœœœ œœœ œœœ˙ ˙
Ó œ œœœœœ
Œ œ œœ ˙
∑
∑
˙n ˙
˙ ˙b
˙ ˙n
˙ ˙
.œn jœ œb œn
wwwwnnbnæœ œ œ# œ œ œ œ œ
‰ jœœœn œœœ œœœ‰ jœœœ œœœ œœœ˙n ˙
Œ ‰Jœœœn œœœ œœœ
œ# œœ œœœ# œœœ œœœ
∑
∑
œ Œ
œ Œ
œ Œ
œ Œ
˙
˙˙
˙
Œ œœœœ˙
˙
˙
F
F
247
&
?
&
&
&
&
?
&
&
&
&
&
####
####
####
####
####
####
####
####
####
####
####
####
44
44
44
44
44
44
44
44
44
44
44
44
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
∑
∑
88
‰ œ Jœ œœ œ œ
‰ œ Jœ œœ œ œ
‰ œ jœ œ œ œ œ
‰ œ jœ œ œ œ œ
˙# ˙
88
‰....œœœœ ‰
....œœœœ
www
œœœœ ˙ œœœœ˙ ˙
88 www
www?
f
f
f
f
88
∑
∑
.˙ œ
.˙ œ
.˙ œ
.˙ œ
˙ œ œ
Œ....˙˙
Œ ‰ œ œ œ œ œ
œœœœ ˙ œœœœ˙ ˙
‰ ...œœœ#jœœœ ...œœœ
˙ œœ œ
f
∑
∑
.˙ œ
˙ ˙
˙# ˙#
.˙ œ
.œ Jœ œ œn
‰ ....œœœœ# ‰ ....
œœœœ
‰ œ œ œ# œ œ Œ
Œ ˙# œœœœw
Œ ...˙#
˙ œœ œ
∑
∑
œ œ ˙
.˙ œ#
.˙ œ
œ œ ˙
˙ ˙
Œ....˙˙
Œ ‰ œ œ œ œ œ
Œ ˙ œœœœw
‰ ...œœœ#jœœœ ...œœœ
˙ œœ œ
∑
∑
˙ ˙
w#
w B
˙ ˙?
.œ jœ œ œ
‰....œœœœ ‰
....œœœœ
‰ œ œ œ œ œ œ œ
œœœœ ˙ œœœœw
jœœœ œœœ#jœœœ
jœœœ œœœjœœœ
˙ œœ œ
248
&
?
&
&
B
?
?
&
&
&
&
?
####
####
####
####
####
####
####
####
####
####
####
####
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
93
∑
‰ œ Jœ Jœ œ JœWhen you go through a
93
w
w
w
w
˙ ˙
93
‰...œœœ ‰
...œœœ
Jœ œ Jœ œ œ œ
Œ ˙ œœœœw
93
‰ œœœjœœœ
jœœœ œœœjœœœ
˙ œœ œ
p
P
P
P
P
P
P
p
∑
˙ ‰ Jœ œlot, you in
˙ ˙
˙ ˙
˙ ˙
˙ ˙#
˙ œ# œ#
‰ ...œœœ## ‰ ...
œœœ
œ œ œ# œ jœ œ jœ
Œ ˙˙#
œœœœw
‰ œœœ#jœœœ
jœœœ œœœjœœœ
˙ œœ œ
∑
Jœ .œ œ œbet ter con
w
w
w
w
˙ ˙
‰...œœœ# ‰
...œœœ
Jœ œ Jœ œ œ œ
Œ ˙ œœœœw
‰ œœœœjœœœœ
jœœœœ œœœœjœœœœ
˙ œœ œ
∑
Jœ .œ Ódi tion,
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
‰...œœœ# ‰
...œœœ
jœ œ jœ œ œ œ
œœœœ ˙ œœœœw
jœœœœ œœœœjœœœœ
jœœœœ œœœœjœœœœ
˙ œœ œ
- - -
249
&
?
&
&
B
?
?
&
&
&
&
?
####
####
####
####
####
####
####
####
####
####
####
####
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
97 jœ .œ œ œbet ter con
∑
97
w
w
w
w
˙ ˙
97
‰...œœœ ‰
...œœœ
Jœ œ Jœ œ œ œ
Œ ˙ œœœœw
97
‰ œœœœjœœœœ
jœœœœ œœœœjœœœœ
˙ œœ œ
œ œ jœ œ jœdi tion to sur
∑
˙ ˙
˙ ˙
˙ ˙
˙ ˙#
œ ˙ œ
‰ ...œœœ## ‰ ...
œœœ
œ œ œ# œ jœ œ jœ
Œ ˙˙#
œœœœw
‰ œœœœ#jœœœœ
jœœœœ œœœœjœœœœ
˙ ˙
˙ Óvive,
∑
w
w
w
w
˙ ˙
‰...œœœ# ‰
...œœœ
Jœ œ Jœ œ œ œ
Œ ˙ œœœœw
‰ œœœœjœœœœ
jœœœœ œœœœjœœœœ
˙ œœ œ
∑
∑
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
‰...œœœ# ‰
...œœœ
jœ œ jœ œ œ œ
œœœœ ˙ œœœœw
jœœœœ œœœœ Jœœœœ J
œœœœ œœœœ Jœœœœ
˙ œœ œ
- - - -
250
&
?
&
&
B
?
?
&
&
&
&
?
####
####
####
####
####
####
####
####
####
####
####
####
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
101
‰ œ jœ œ .œ œWhen you go through a
‰ œ Jœ œ .œ œWhen you go through a
101 w
w
w
w
˙ ˙
101
‰ ...œœœ ‰ ...
œœœ
Jœ œ Jœ œ œ œ
Œ ˙ œœœœw
101
‰ œœœ Jœœœ J
œœœ œœœ Jœœœ
˙ œœ œ
jœ .œ ‰ jœ œlot, you in
Jœ .œ ‰ Jœ œlot, you in
wn
w
w
wn
˙ ˙
‰ ...œœœn ‰ ...
œœœ
jœ œn jœnœ œ œ
Œ ˙˙nn
œœœœw
‰ œœœn Jœœœ Jœœœ œœœ J
œœœ
˙ œœ œn
jœ .œ œ œbet ter con
Jœ .œ œ œbet ter con
w#
w#
w
w#
˙ ˙
‰ ...œœœ# ‰ ...
œœœ
Jœ# œ Jœ œ œ œŒ ˙
˙#œœœœw
‰ œœœ# Jœœœ Jœœœ œœœ J
œœœ
˙ œœ œ
jœ .œ ‰ jœ œ œdi tion to sur vive
Jœ .œ ‰ jœ œ œdi tion to sur vive
w
w
w
w
˙ ˙
‰ ...œœœ ‰ ...
œœœ
jœ œ Jœ œ œ œ
Œ ˙ œœœœw
‰ œœœ Jœœœ Jœœœ œœœœ J
œœœœ
˙ œœ œ
- - - -
- - - -
251
&
?
&
&
B
?
?
&
&
&
&
?
####
####
####
####
####
####
####
####
####
####
####
####
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
105
.˙ œall
.˙ œall
105
w
w
w
w
˙ ˙
105
‰ ...œœœ ‰ ...
œœœ
jœ œ Jœ œ œ œ
Œ ˙ œœœœw
105
‰ œœœœ Jœœœœ J
œœœœ œœœœ Jœœœœ
˙ œœ œ
œ œ œ œ œthese kinds of things.
œ œ œ œ œthese kinds of things.
˙ ˙
˙ ˙
˙ ˙
˙ ˙#
˙ ˙#
‰ ...œœœ ‰ ...
œœœ#
jœ œ Jœ œ# œ œ
Œ ˙ œœœ˙ ˙#
‰ œœœœ Jœœœœ J
œœœœ œœœœ# Jœœœœ
˙ ˙##
w
w
w
w
w
w
˙ ˙
‰ ...œœœ ‰ ...
œœœ
Jœ œ Jœ œ œ œ
Œ ˙ œœœœw
‰ œœœœ Jœœœœ J
œœœœ œœœœ Jœœœœ
˙ œœ œ
∑
∑
˙ ‰ jœ œ œ
˙ ‰ jœ œ œ
˙ ‰ jœ œ œ˙ ‰ jœ œ œ
˙ ˙
‰ ...œœœ ‰ ...
œœœ
jœ œ Jœ œ œ œ
Œ ˙ œœœœ˙ ˙
Jœœœœ œœœœ J
œœœœ Jœœœœ œœœœ J
œœœœ
˙ œœ œ
F
F
F
F
252
&
?
&
&
B
?
?
&
&
&
&
?
####
####
####
####
####
####
####
####
####
####
####
####
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
∑
∑
109
˙ ‰ jœ œ œ
˙ ‰ jœ œ œ
˙ ‰ jœ œ œ
˙ ‰ jœ œ œ
˙ ˙
109
‰ ...œœœ ‰ ...
œœœ
jœ œ Jœ œ œ œ
Œ ˙ œœœœ˙ ˙
109
‰ œœœœ Jœœœœ Jœœœœ œœœœ J
œœœœ
˙ œœ œ
109
∑
∑
œ ˙ œ
œ ˙ œ
œ ˙n œ
œ ˙ œ
˙ ˙
‰ ...œœœn ‰ ...
œœœ
jœ œ Jœn œ œ œ
Œ ˙n œœœœ˙ ˙
‰ œœœœn Jœœœœ Jœœœœ œœœœ J
œœœœ
˙ ˙
∑
∑
.œ jœ œ œ
.œ jœ œ œ
.œ Jœ œ œ
.œ Jœ œ œ
˙ ˙
‰ ...œœœ# ‰ ...
œœœ
Jœ œ Jœ œ œ œ
Œ ˙ œœœœ˙ ˙
‰ œœœœ Jœœœœ Jœœœœ œœœœ J
œœœœ
˙ œœ œ
∑
∑
˙ ‰ Jœ œ œ
˙ ‰ jœ œ œ
˙ ‰ Jœ œ œ
˙ ‰ Jœ œ œ
˙ ˙
‰ ...œœœ ‰ ...
œœœ
œ œ œ ˙
œœœœ ˙ œœœœw
Jœœœœ œœœœ J
œœœœ Jœœœœ œœœœ J
œœœœ
˙ œœ œ
∑
∑
˙ ‰ Jœ œ œ
˙ ‰ jœ œ œn
˙ ‰ Jœ œ œ
˙ ‰ Jœ œ œ#
˙ ˙
‰ ...œœœ ‰ ...
œœœ
Œ ‰ œ œ œ œ œ
Œ ˙ œœœœw
‰ œœœœ Jœœœœ Jœœœœ ....œœœœ
˙ œœ œ
∑
∑
.˙ œ
.˙ œ#
.˙ œn
.˙ œ
˙# ˙#
‰ ...œœœ ‰ ...
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Œ ˙n œœœœw#
‰ œœœœ#n Jœœœœ Jœœœœ ....œœœœ
˙## œœ œ
253
&
?
&
&
B
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&
&
&
&
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####
####
####
####
####
####
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####
####
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n###
n###
n###
n###
n###
n###
n###
n###
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n###
n###
n###
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
115
∑
∑
115 .œ Jœ œ œ
.œ Jœ œ œ
.œ jœ# œ œ
.œ Jœn œ œ
˙ ˙
115
‰ ...œœœn ‰ ...
œœœ
‰ jœ œ œ œ œ œn
Œ ˙n œœœœw
115
‰ œœœœn Jœœœœ Jœœœœ ....œœœœ
˙ œœ œ
∑
∑
œ ˙n œ
œ ˙ œ
œ ˙ œ
œ ˙ œn
˙ ˙
‰ ...œœœn ‰ ...
œœœ
œ œ œ œn œ œ œ
œœœœ ˙n œœœœw
Jœœœœ œœœœn J
œœœœ Jœœœœ ....œœœœ
˙ œœ œ
∑
∑
.œ Jœ Jœ œ Jœ#
.œ Jœ Jœ œ jœ
.œ jœ jœ œ jœ
.œ Jœ# Jœ œ Jœ
˙ ˙
‰ ...œœœ# ‰ ...
œœœ
Œ ‰ œ œ œ œ œ œ
Œ ˙# œœœœw
Œ œœœœ# Œ œœœœ˙ œœ œ
∑
∑
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
Œ œœœ Œ œœœ
‰ jœ œ œ œ œœ œ
Ó ˙#w
Ó ˙˙#
ww
∑
∑
w
w
wn
w
˙ ˙
Œ ....˙˙n
Œ œ œ œ
Ó ˙˙nw
Ó ˙
ww
∑
∑
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
....˙˙n Œ
....˙n Œ
......˙˙n Œ
˙n Ó
.
.˙Œ
254
&
?
&
&
B
?
?
&
&
&
&
?
###
###
###
###
###
###
###
###
###
###
###
###
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
∑
∑
121
Jœ .œ œ .œ œ
jœ .œ œ .œ œ
‰ .œ œ œ
‰ .œ œ œ
w
121
∑
∑
∑
121
∑
∑
arco
P
P
P
P
121
P
∑
∑
œ .œ œ œ ˙
œ- .œ- œ œ ˙
œ œ Jœ .œ
œ œ Jœ .œ
˙ ˙
∑
∑
∑
∑
∑
∑
∑
Jœ.œ œ .œ œ
jœ .œ œ .œ œ
‰ .œ œ œ
‰ .œ œ œ
w
∑
∑
∑
∑
∑
∑
∑
œ .œ œ œ ˙
œ- .œ- œ œ ˙
œ œ Jœ .œ
œ œ Jœ .œ
˙ ˙
∑
∑
∑
∑
∑
∑
∑
Jœ .œ .œ œ œ œ
jœ .œ .œ œ œ œ
‰ .œ œ œ
‰ .œ œ œ
w
∑
∑
∑
∑
∑
∑
∑
w
w
.œ Jœ œ œ
.œ Jœ œ œ
˙ ˙
∑
∑
∑
∑
∑
255
&
?
&
&
B
?
?
&
&
&
&
?
###
###
###
###
###
###
###
###
###
###
###
###
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
127
∑
∑
127
Jœ .œ .œ œ œ œ
jœ .œ .œ œ œ œ
.˙ œ
.˙ œ
w
127
∑
∑
∑
127
∑
∑
∑
∑
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
∑
∑
∑
∑
∑
œ œ œ jœ œ œEv en if the bank was
œ œ œ Jœ œ œEv en if the bank was
w
w
w
w
w
∑
∑
∑
∑
∑
p
p
p
p
p
wclosed,
wclosed,
w
w
w
w
w
∑
∑
∑
∑
∑
ww
w
w
w
w
w
∑
∑
∑
∑
∑
œ ‰ jœ œ .œ œn œ#it did n't mat ter
œ ‰ Jœ œ .œ œ œit did n't mat ter
œ. Œ Ó
œ. Œ Ó
œ. Œ Ó
œ. Œ Ó
œ. Œ Ó
∑
∑
∑
∑
∑
- - -
- - -
256
&
?
&
&
B
?
?
&
&
&
&
?
###
###
###
###
###
###
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###
###
###
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
œŒ Ó
much.
œ Œ Ómuch.
133
∑
∑
∑
∑
œ œ œ œ
133
œœœœœ œ
œœœœ œœœœœ œ œ
œœœœœœœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‰ jœœœœ‰ jœœœœ
‰ jœœœœ‰ jœœœœœ œ œ œ
133
∑
∑
pizz.
f
f
f
f
133
∑
∑
∑
∑
∑
∑
œ œ œ œ
œœœœœ œ
œœœœ œœœœœœœœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‰ jœœœœ‰ jœœœœ
‰ jœœœœ‰ jœœœœœ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ
‰ Jœ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœœ œ œ œ
‰ œœ Jœœ
œœœœ
∑ƒ
ƒ
F
F
F
∑
∑
∑
∑
∑
∑
œ œ œ# œ
œ œ œ œ œ œ
œn œ œ œ œ œ œ œ œ œ œ œ œ œ
‰ jœœœœn ‰ jœœœœ
‰ jœœœœ‰ jœœœœœ œ œ œ
.
.œœ Jœœ œœ œœ
∑
257
&
?
&
&
B
?
?
&
&
&
&
?
###
###
###
###
###
###
###
###
###
###
###
###
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
137
∑
∑
137
∑
∑
∑
∑
œ œ œ œ
137
‰ Jœ œ œ œ œ œ œ
œ œ œ œ œ œ œ œn œ œ œ œ œœ
‰ jœœœ ‰ jœœœ ‰ jœœœn ‰ jœœœœ œ œ œ
137
‰ œœ Jœœ
œœœœ
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ
œ œ œ œ œ Œ
œ œœœœ ‰ œ œn œ# œ œn œ#
Œ œœœœœœœœœœœœœœœ
œœœœœœœœœœw
ww
Œ œœ> ˙>
∑
∑
∑
∑
∑
∑
œ œ œ œ
‰ Jœ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœœ œ œ œ
‰ œœ Jœœœœ
œœ œœ
∑
∑
∑
∑
∑
∑
∑
œ œ œ# œ
œ œ œ œ œ œ
œn œ œ œ œ œ œ œ œ œ œ œ œ œ
‰ jœœœœn ‰ jœœœœ
‰ jœœœœ‰ jœœœœœ œ œ œ
.
.œœ Jœœ œœ œœ
∑
258
&
?
&
&
B
?
?
&
&
&
&
?
###
###
###
###
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A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
141
∑
∑
141
∑
∑
∑
∑
œ œ œ œ
141
‰ Jœ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœœ œ œ œ
141
‰ œœ Jœœœœ
œœ
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœœ œ œ œ
œœ˙ œœ
∑
∑
∑
wb æ
wæwn æ
wæ
œ œ œ œ
ww# æœn œb œ œ œ œ œ œ œ œ œ œ
‰ œœœœ#n jœœœœ
jœœœœœœœœ
jœœœœ˙ ˙
Œ ....˙˙˙#n
ww
F
F
F
F
∑
∑
œ> Œ Ó
œ> Œ Ó
œ> Œ Ó
œ> Œ Ó
œ œ œ œ
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œ œ œ œ œ œ œ œ œ œ œ œ‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœœ œ œ œ
wwww
ww
f
f
f
f
259
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&
&
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&
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&
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###
###
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n##
n##
n##
n##
n##
n##
n##
n##
n##
n##
n##
n##
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
145
∑
∑
145 wæ
wn æwbæwæ
œ œ œ œ
145 ..˙#朜>
œn œb œ œœ œ œ œœœœœ
‰ œœœœ#n jœœœœ
jœœœœœœœœ
jœœœœ˙ ˙
145
Œ ˙˙˙#n œœœœ
ww
F
F
F
F
∑
∑
œ>Œ
˙
œ> Œ ˙
œ> Œ ˙
œ> Œ ˙
œ œ œ œ
œœ Œ Ó
œ œ œœœ œ œœœ œ œ œ‰ jœœœ ‰
jœœœ ‰ jœœœ ‰jœœœœ œ œ œ
wwww
ww
ƒ
ƒ
ƒ
ƒ
f
f
f
f
∑
∑
˙ ˙
˙ ˙
˙n ˙
˙ ˙
œ œ œ œ
Œ œœ œœ œœ
œ œœ œœ œœœœ œœ œ‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœœ œ œ œ
Œœœ œœ œœ
ww
∑
∑
˙n ˙
˙ ˙n
˙ ˙
˙ ˙
œ œ œ œ
œœœœ œœ œœ
œ œ œœœ œœœœœ œ‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœœ œ œ œ
œœœœ œœ œœ
∑
∑
Ó Œ ‰ JœSe
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
œ œ œ œ
.
.˙ Œ
œ œœœ œœ œ œ
‰ jœœœ ‰ jœœœ ‰ jœœœ ‰jœœœœ œ œ œ
..˙ Œ
.
.˙ œœ
F
F
F
F
-
260
&
?
&
&
B
?
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&
&
&
&
?
##
##
##
##
##
##
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##
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##
##
##
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
∑
œ œ œ Jœ .œ Jœcur i ty to me is
150 ˙ ˙
˙ ˙
˙ ˙
˙ ˙
œ œ œ œ
150
‰jœœœœ ‰
jœœœœ ‰Jœœœœ ‰ J
œœœœ
œ œ œ œ œ œ œ œ œ œ œ œ
‰ jœœœœœ‰ jœœœœœ
‰ jœœœœ‰ jœœœœœœ œ œ œ
150
‰ œœœœjœœœœ ‰ œœœœ
jœœœœ˙ ˙
150
Ó Œ ‰ jœSe
Jœ œ Jœ ˙not what we have,
˙ ˙
˙ ˙
˙ ˙
˙ ˙
œ œ œ œ œ œ
‰Jœœœœ ‰
Jœœœœ ‰
jœœœœ‰ œœœœ
œœœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ
‰ jœœœœ‰ jœœœœ
‰ jœœœœ‰ œœœœ œœœœœ œ œ œ
‰ œœœœjœœœœ ‰ œœœœ
jœœœœ˙ ˙
œ œ œ jœ .œ jœcur i ty to me isw
˙ ˙
˙ ˙
˙ ˙
˙ ˙
œ œ œ œ
œœœœœ œ
œœœœœœœœ œ
œœœœ œœœœœœœœœ
œ œ œ œ œ œ œ œ œ œ œ œ
‰ jœœœœœ‰ jœœœœœ
‰ jœœœœ‰ œœœœœ
œœœœœœ œ œ œ
‰ œœœœjœœœœ ‰ œœœœ J
œœœœ
˙ ˙
jœ œ jœ ˙not what we have,
Ó Œ ‰ JœSe
˙ ˙
˙ ˙
˙ ˙
˙ ˙
œ œ œ œ œ œ
œœœœœ œ
œœœœœœœœ œ
œœœœ œœœœœœœœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‰ jœœœœ‰ œœœœ
œœœœ‰ œœœœ œœœœ
‰ œœœœ œœœœœ œ œ œ
‰ œœœœ Jœœœœ ‰ œœœœ J
œœœœ
˙ ˙
- -
- - -
-
261
&
?
&
&
B
?
?
&
&
&
&
?
##
##
##
##
##
##
##
##
##
##
##
##
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
154
wœ œ œ Jœ .œ Jœ
cur i ty to me is
154˙ ˙
˙ ˙
˙ ˙
˙ ˙
œ œ œ œ
154
œœœœœœœœœ œ
œœœœœœœœ œ
œœœœœœœœ œ
œœœœœœœœ
œ œ œ œœœœ œ œœ œœœœ
‰ jœœœœœ‰ œœœœœ
œœœœœ‰ jœœœœ
‰ œœœœœœœœœœœ œ œ œ
154
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262
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Vln. I
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Vla.
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D.B.
Mdn.
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Gtr.
Pno.
158 ˙ Ó
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158 ˙ ˙
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158
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263
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Vln. I
Vln. II
Vla.
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D.B.
Mdn.
Bjo.
Gtr.
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‰ jœ œ œ œ œ œ œ œWhat real ly hap pened was a
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165
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165
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165
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165
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264
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Vla.
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D.B.
Mdn.
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Gtr.
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171
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171
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171
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171
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265
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177
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- - -
- - -
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266
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43
43
43
43
43
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43
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43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
183
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183
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- - -
- - -
-
267
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B
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&
&
&
&
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##
##
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##
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##
##
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A
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Mdn.
Bjo.
Gtr.
Pno.
189
∑
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189 w
w
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189
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189
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w
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wlife,
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w
w
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w
w
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-
-
-
268