EXERCISE COPLAND

Exercise: Copland – Aaron Copland Appalachian Spring

Answer these questions:

!"Write in your own words why you think this work is so successful.
2) Focusing on the beginning section, what are some elements that we discussed in
class that Copland uses to sustain the mood?

When finished check your answers from the Exercise Copland Answers pdf.
APPALACHIAN SPRING AARON
First Section COPLAND
1900-1990

Instrumentation:
Flute
Bb Clarinet
Bassoon
Piano
2 1st Violins
2 2nd Violins
2 Violas
2 Cellos
1 Double Bass
 Appalachian Spring
3

¨  Appalachian Spring is a musical composition by Aaron Copland that premiered in 1944 and has achieved
widespread and enduring popularity as an orchestral suite. The music, scored for a thirteen-member
chamber orchestra, was created upon commission of the choreographer and dancer Martha Graham with
funds from the Coolidge Foundation.
¨  It premiered on Monday, October 30, 1944 at the Library of Congress in Washington D.C., with Martha
Graham dancing the lead role. The set was designed by the American sculptor Isamu Noguchi. Copland
was awarded the 1945 Pulitzer Prize for Music for his achievement.
 Aaron Copland
4

¨  Aaron Copland (November 14, 1900 – December 2, 1990) was an American composer, composition
teacher, writer, and later a conductor of his own and other American music. Copland was referred to by his
peers and critics as "the Dean of American Composers".
¨  The open, slowly changing harmonies in much of his music are typical of what many people consider to be
the sound of American music, evoking the vast American landscape and pioneer spirit. He is best known
for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as
"populist" and which the composer labeled his "vernacular" style.
¨  Works in this vein include the ballets Appalachian Spring, Billy the Kid and Rodeo, his Fanfare for the
Common Man and Third Symphony. In addition to his ballets and orchestral works, he produced music in
many other genres, including chamber music, vocal works, opera and film scores.
 “The Copland Sound”
5

¨  Chords without thirds – less definitive tonality

¨  Mixing pizzicato and arco
¨  Rhythmic displacement of strong beats and
motives
¨  No unnecessary notes, no “filler parts”
¨  Well written piano part
¨  Elegant, clear development of material
¨  Melodic linking between winds and strings
¨  Very little use of the double basses
¨  Major 7th (with ninths) chords
 Section Measure Key Center Melody Accompaniment Misc. Motive
Count
Opening 6 A major Winds strings Slow and piano 3 note triadic
(z)
2-4 5 A major Flute 1st violin Extends to 9 mm

6
5 10 A major Flute Strings and piano Quarter notes

6 18 Winds and Allegro and forte Ascending 4th and 3rd

strings (y)
More vigorous
7 14 Moving from Tutti Piano becomes more
A major to prominent
minor
8 11 G major Winds Strings and piano

9 47 A major Piano then strings Piano repeat of 69 return of motive (z)

winds

10 6 Piano repeat of 6 Transition and return

of motive (z)

11 C mixolydian Winds, piano Mixed meter with

and viola accents and forte

12 C mixolydian Winds, piano New dotted rhythmic Both motives together

and viola figure in strings and
bssn
 Section Measure Key Center Melody Accompaniment Misc. Motive
Count
12 6 A major Winds and Strings Repeat of mm. 58
1st vln

13 5 Shifting Tutti 1st violin Groupings of three y

7 harmony over notes -beaming
a C pedal
14 F major Flute Strings Repeat of 9 z

15 F major Solo winds End of this section Both motives together

 Categories
8

Bowing
Blending of
Balance and
Families
Phrasing

Doubling Dovetailing Highlighting

Expression Harmony
Form
Markings

Main Melodic
Tessitura Texture
Sections Linking

Motives
 To Elizabeth Sprague Coolidge
“White tone”
APPALACHIAN SPRING
(Ballet for Martha) AARON COPLAND
(1943-44)
z
Suite Original version for 13 Instruments Motive
Very slowly J=66
I'IJJ. fl solo
Flute 1st motive built of
9 Clarinet in B . l'lJJ. fl
solo-- __..--;;;. F:::::-.,.....,
triadic thirds
p semplice ("white tone')
'"""'
Bassoon

I'JJJ. fl

Portato bowing
Piano
:

l'lJJ. fl
Very slowly J 66 =
2 Violins I

Balance I'JJJ. II v
2 Violins II

Are the strings mp

.__.., --
JJ. v v Texture
balanced? 2 Violas
;
.;----'
2 Violoncellos : Lack of bass this
:
p whole section
1 Contrabass

Note the bowing

indications and
Fl.
5

["iJ
l'l fl

- I
-- -
;.,.
[!] Faster J=88

-
solo

mp
--r

.Jl.11 fl - -
articulations through =
Cl. ;:;--.,
inm --.:1
mf ,....-...__
tout the score Bsn. --,:: -
.i:_

mf
l'llLll
- : - --,

Pno. mp mp
-
<J - t--- Harmony
-
:::-==:::::-<>:::=::"":_________ - ----------- A major 7, 9 chord
l'l fl
div.
P,J: [!] Faster J 88 . P . . J -....- - - - - -
Vn.I
it! ("-; ("
p
l'l fl
=
div.
- p

-
Vn. II
it!
pp - p I
. r-- --
p -rr
.II. nL r:,;:_ .....-----: t-..J
Va. :--
I
PI

Vc. :
t--
r-

Cb. .ll. - =
©Copyright 1945, 1958 by The Aaron Copland Fund for Music, Inc. Copyright Renewed.
First publication original version© Copyright 1972 by The Aaron Copland Fund for Music, Inc.
Boosey & Hawkes, Inc. Sole Publisher.
All Rights Reserved. Printed in U.S.A.
 APPALACHIAN SPRING
Doubling
2
moving forward
11
f'lll I! solo£ -&-
----...._ Unusual doubling of
Fl. ------ -------- flute below the
riff cant.
f'l
Cl. st
1 violins; note the
inm
1..... .p. ;::;
- different slurs
10 Bsn.

Pno.
-

(/!/)_--- ------------------------------------------- ---------------------- ----- j

moving forward
soloc

Vn.I
f'lll I!
Harmony
0!.1
pcant.
f'l I! v I P,,....--.1 j ,,..--.I ,.J
D and F# begin to be
Vn.II
div.
j, I I I
I

Va. " II
.0.. ,,..--.I j/ j used more
div.

,....--._ .{- din J- f-.o.. 1---::l .J

Vc.
p ::::::::==-- p

Cb.

17
lm rit. a tempo

Fl.
II,. I! ___,-

CJ
--
1111 I! _,...--...__
Cl.
inm
mp
l11n
Bsn.

...
:
Pno.
:

Vn.I
solo
IIIII!

1111 I! I ,,..--.I ,.J

---------------
-

I ,,..--.I
lm rit.
-

,.J ,,..--.I
-

,,..--.I
a tempo

1 -1 - - n - - - . . _

------
Vn. II
div. I I
·r I I I I

,. 1,...--.1 I ,..J ,,..--.I ,.J 1--.1 ..J ,,..- h }'" .J

------
Va.
div. 1--.- 1-
1--- 1---
-e- .J -a' t--.-9' 'EO'
Vc. : "'
div.

:
Cb.
 APPALACHIAN SPRING 3

23
Texture
;; .a. -oQ. ---........

After doubling, the

Fl.

Cl.
flute repeats the
Bsn.
melody solo
11
Pno.

Vn.I

Vn. II
div.

Va.
div.

Vc.
div.

Cb.

Fl.

Cl.
AiL l!

Ill

fu l!
- f:
--- solo p.
-
Texture

Repeat of the
Ill
mP espress. I I
melody 8vb
-----
solo
l11n
Bsn.
mp espress.

Pno.
:

flJJ. II
div.
,.---- .......___
Vn.I
Ill
p I:___ I
PI
-------
-
flJJ. II
Vn. II
div. .., 1 -r- ..._ ..._
oe-.__..
Va.
"'
p
•.n./ - !:::--..;
f
----:--1
.._ ,..._ .__.. ---
I
p
:
Vc.

:
Cb.
 4 APPALACHIAN SPRING

Texture
Fl.
37
""I! F- ,..--.,..
-
tJ

""I!
p espress. The flute develops
Cl.
inm tJ
pp
the melody, moving
-'- .p. ..::::::: :---. with more animation
Bsn. II
12
:

Pno.
:

""!I
unis._
/" -..., Texture
Vn.I
div. tJ _,, '-...... ./
Simplification of the
p unis.
Vn. II ""!I
div. tJ

------ r p
unis.
flute line
uJJ. h
Va.
div. - ...._
T p unis.
./

-" r--..
:
Vc.
p
:
Cb.

44 As at first
""!I /":"\ Harmony
Fl.

Cl.
f\ I!
---- sole:--
- - ...,.-- Ending of the
inm
11n
..a: :0..
p /":"\
opening section on a
A major chord (no
:
Bsn.
p =====--
:
/":"\ third) Copland sound;
Pno.
u
pp
/":"\
clarinet sustains and
:
acts as a transition
8'!........••........•.....•.........•...•....•..•.•..••.••. ]

As at first
Texture f\JJ. I! /":"\ b
Vn.I

The first entrance of Vn. II

""!I
-u....._ ..:&·
-E!:--
pp -- ,e.
=====-- /":"\

the basses tJ

.. pp =====-- /":"\ 11
Va.
pp =====-- /":"\
Vc. :
I I
pp
/":"\
:
Cb.
pp
 Texture
5
f£!1 Allegro J=160
The piano becomes
more important in
ii /":\ /":\
Fl.
-i)-
Motive
terms of the Cl.
/":\ /":\
solo
y
orchestration New motive built on
W)

:__../
solo p (poco marc.)
13 Bsn.
:
/":\ /":\
4th and 3rd; each
........./
p (poco marc.) sequence up a whole
fl #1!: * /":\

:
> step
Pno.
#J /":\
i * /":\

W)
2ro.
*
[ill Allegro J= 160 n

Doubling Vn.I
II * * #1!: i * /":\
Motive
W)
vLgoroso ,e...._
n
p
Strings in unison Vn.II
,.,
* * #t!= ; . - /":\
'9-
i * /":\
Added material to
(high viola!) W)
mgoroso n ,a,
p motive z (descending
fl
* .#1!: ; . - /":\
'9-
i * /":\
Va.
lw.!
mgoroso
>
p pizz. triads)
/":\ /":\ ..;.
:
Vc.
r
p
/":\ /":\
:
Cb.

56
fl
Fl.
--.:1
fl .!"h.;.
. -
Cl.
inm W)

1.. /"'""'.;. nif - - *

Bsn.
:
11*-
Motive
fl

W)
ffp
Rhythmic
mf
displacement of the
Pno.
fl

...
motive (Copland
W) >

.... -
Harmony ,., ...--.....--
Vn.I
W)
ifp sound)
Sequence repeats ,., r;.- '9-
nif

starting in the low Vn. II

W)
ifp ....

strings against a
pizz. arco nf.
... .;,. • <!.;. b•
*
dissonant A natural in
Va.

:
p ,.
mp
arco
I

• . .... -- - -
-
:

the violins and piano

Vc.

Cb.
:
 z
6

Fl.
61
fl
tJ
#
;: .... ;: .... .,._II.'*
- ...

-
rrd' f;;;:rc.

Cl.
inm
f;;;;,.c,
,.. ,.. ,ol. !I# II. ,. ; . -
14 Bsn. :

(! .... e
tJ
- -
f >

fl ,......,
Pno.
!1.. #J .... !1....
:
tJ
[7]
Vn.I
flb.....

tJ
;: .... .... ; .... 11-
n
.;;:.
- - Motive
f';;;t,.c. ,e.

Vn. II
fl

ou
- II.

fm";;rc.
.... .... ; #II. -"
n
;: ...
"
...
,e.
More added material
Va.
fl b.... ,.. !1. 1;: .... ;: .... ; .. II
n
;: - - to motive z
f,;;,rc.
>

:
(descending scale)
Vc.

Cb. :

69 Motive
-----
solo
66
t-_ i:
Fl.
;fl t_ ...

Flute and 1st vln

ou

Cl.
fl
mf
with motive z;
Bowing and phrasing Bsn.
ltl
: marked differently
fl ,......_ ,......_ r:: (again!)
Transition ltl 1-J-
(to C major) and Pno.

:
psub.
:--'- :--'- :--'- f)
clever mixing of arco arco arco arco v v,.-
and pizz (Copland
fl pizz. v... pizz. v_ - pizz. v_ ::;: i: -t t: i:

sound)
Vn.I
tl;- ....._.
* -· '* mf

--
arco arco arco
pizz. pizz. pizz.
fl v v v v v
Vn.II
tJ "*!"
p
- I"*!" -:;J:.
"'--'
arco
- '"*!"
"--'
arco
-:;J:. -
mf
arco
·...__./ ·-
v pizz.
v pizz.
v p_izz. v_ Y.--...., -
Va.
p
..__.., -
arco V--.,
..__.., -
arco V--.,
..__..,
arco
mf
'";:-"' - -
:
pizz.
t: e pizz.
t: e pizz.
e y,.........__, -
Vc.
p rrd'
Cb.
:
 APPALACHIAN SPRING 7
Motives
z !lf!:..i=-.;.. ... - .;.. ... :. ... .;. .;.. ... .;.. ... i!:..;..i -f!:. ft. f!:. ft. .,_ ft. f!:. ft. Harmony
Two motives played Fl.
...,
..... ..-. fnon legato
Movement down to
together (Copland Cl.
fl ... .;.
..-.
.;...-.
.. * .....-.
:. ... .;.. ... .,_ ft. .,_ .. .,_ ft. .,_

sound)
inm ...,
mf Jnon legato G major
:
Bsn.
15 sva----------------------------
... ....----::- ... ....----:: € €
-
fl

Pno.
...,
,:;-
...
- :t:. ...
fnon legato (bell.like)
;:; ;::;

. .
:

Vn.I
..
div.
... -;... .-;.. _.-;._. :i:
[§]
unis.
n
---
;.

-
01.1

-
(11ffj

- -
Jmarc.
v v_ -
sim.
- - - n
fl
- -
Doubling
Vn. II
..., -:t!-·.._./ - ._, "*!"-
·- - .__. - .___., ;:.
y
·- ·- - ·-
•.._./ •.._./ ·.._.,I Jmarc.
v_ Y- - - - -
Strings and piano
with motive y
Va.

Vc.
:
·--.
v.
-
i -
Y--. - ·-.---... --. ·-.---... .-- ·- .--.-
- -
- . - - . -
-
·-. i -

:
Cb.
'

75
Texture Fl.
f!:.f!:.fll-f!:.fll- • .fll-• .- #" •II ... II II

j-.1

Flute and clarinet in .,_ • .,_ . . . . .,_ I • .,_ .,_ ft. .fL * .fL 1.-11 .. 11 .. II

thirds; resonant and

Cl.
inm

Bsn.
1-.1

:
solo
> .t:. f!:. _II .. .,_ F > .. .,_ F t lllf:· - -..
.,_
“tonal” fmarc.
rsr------ ----------,
J J J J
fl € • • • • • • • • i ........ ; ...
sva----------------------------------- ------- ---
.,.. • .,.. .,.. 1111

Pno.
...,
fl ;:; ;:; :::; ;:; ;:; ;:;
•
-- ... •
- • l11 II

...,
- - .,.
Vn.I
fl

...,
.. • .(2.•
- II

fl II
Vn. II
-.1 I T I

Va.
>
n
- i ... - - - . II

,.-._ "
:
n
> ... i i
fmarc.
. n
> .. .,_ .,_ a
Vc.
,.-._
:
fmarc.
> ..
Cb.
' I
 8 APPALACHIAN SPRING
z
80
l'u !I
fill > _£_-----_.£':_
Fl.
"" If If
ll+t!l. > > 1:.. .,_
Cl.
inm It)
If
Harmony Bsn.
:
>

16
> I I

Movement back to A
!----------------------- - .-- ------- ------------
..fu.L!t_ .. .. .,._ .. g
major; strings playing II)
-- - If -
major 7th chords Pno.
AJ!._ !I ___,.._ # .. >
.,_ .... # f!::.

-
Jllc_
-
lll.i
fill-- *
... -
g ..R-----...E:: n v
Texture
ll .. It
=-
Vn.I
-- - -

_
It) ,..--6-
If
n n -
This section features fl_jj__J±_ n n
Vn.II
.._ : ..... =
II)

the piano and winds ..

If
,.-._
f!::.
f!::. £ ll2- ..£..
with strings playing Va
If
-

pads Vc :
I I I
If
Cb
:
I I I
If

>
85 !I
_t_E_ f:. .. f!::.£.- >
1u!. # >

Fl.
lll.i
/l>J. !I f!::.1:...- 1_.._ ;.
-
Cl.
inm It)
- > ;;.

:
Bsn.

ll !I .- f!::._F_ * > .,._ f!::.

Pno. •"" _._

> ,.. ...
It) > - !:
*
_:2::_
Vn.I
It) I I -....__..
!I

_.
Vn. II
II)
'*-.--
.p.
"
Va.

:
Vc.

:
Cb
.... I I
 APPALACHIAN SPRING 9

89
,. ,.
z Fl. " II # ,. #

tJ
flu II .fiL .fiL .fiL .fiL .fiL

- -
Cl.
Melodic linking inm tJ
- - -
: "
Bsn.
17 Melodic linking -----------
_i_ ,. f ,.
between winds and fl ,. II ,. f: ,. f:

piano; winds in Pno.

tJ
- >

-
flu II ,. f:

octaves jl) -,1

-
fl u II v
Vn.I
_-e. ---_..,.
tJ
flu II --------
Vn.II
-jl) _-61' 4---_..,.
,.
Va.

Vc. :

:
Cb.
I I

Fl.
93fl,. II .. . ,. . ..
tJ

fl JJ. II .fiL .fiL .fiL .fiL _11:_

- - - -
Cl.
inm tJ
-
:
Bsn.

fl ,. II >
,. f: €
jl) .....
Pno.
flu II

tJ
t -
[!Q]
flu II
Vn.I
tJ - ----- I I
--
- -

--
flu II
Vn. II
jl)

,. --- ---_..,.
--
Va.
I
--
--
: "
Vc.
I - --
Cb.
:
I -
 10 APPALACHIAN SPRING

98
fu I!
solo
-.,- "
Melodic linking z
Fl.

Cl.
fllil I! . .
...
""!'
p
h

p
.
The two motives, first
: :
Bsn.
.......
18 in piano, then solo,-...
p

fllil I! t j:
y
melodic linked Pno. "ff
h_jj__!±

between the winds :

Vn.I
fllil I!
"
fllil I! ll
Vn. II

Va.
J.l
-"

:
Vc.

Cb.
:

'
[ill
103
f'fl
Fl.
"" Form
-.
ll > > :::;
Cl.

y
in
fsur marc.
* ;:.
--- Note the way the
_:> b. > b.. !: > b. _,...
Bsn.
j, marc.
.. ... Copland changes the
Texture ;. I.. > ;. > ;. I..
- > time signature,
Pno. I sub., marc.
., . ; "'b>.....
; .,
displacing the strong
Abrupt change to beat and the motive
C mixolydian and
forte
Vn.I
"!
.
v - ::.::---- -
......_, ......_,
,...

I
Vn. II
ll v -- >_..- ,...

-
"! "!
I ; ; ,...
-
.:>...-
Va.

I
""!
marc.
""! - ""! "' ......_, ......_,

Vc.

I
t t
Cb.
:jJ.' :jJ.' :jJ.'
>
j
 APPALACHIAN SPRING 11
solo
,..-....
108
ll g
Fl.
v
11f
z
ll
Cl.
inB> v

Bsn.
"""

19 ll i >
:

y
v >-
if
Pno. if
>- >-
if mf
...
Blending of families : :

n i'ro.
*
Wonderful use of the Vn.I
ll ....... ,.._ n
- >..-_------

------
v if- >-
"!" p-.t -
piano to reinforce the if
n
::::=- mp

strings; adding a Vn. II

ll

v
....... r-.. n
- >;_...-

percussive element
>-
if- if "!" p-.t - ::::=- mp
n
ll ;; i >- n .flL >-

Va.
v if- >- I
""!
n
>- 1..
- .flL :t;
"'

:
Vc.

:
r
Cb.

ll f: t t ,oi. t f: ..f:.
Fl.
v
Texture
non leg.
f:.t.;.._. .• .;..t f:ti f:ti f:ti .,.. .flL .,.. . .,..
New rhythmic pattern
ll
Cl.
inB> v
11f non leg.

Bsn.
""' - - ;;
- - - :;;;
in 2nd vln, vla, and
I bssn; dark tone color
ll .r:T,i. .r:T,i. ./:T,i. .r:T,i. .r:T,i.

--
v
Pno. II
-- ......-::--... -- ......-::--... -- ......-::--... -- ......-::--...
v ":" • I I

1\iv..
.a- ... ;: .-
Vn.I
v
11f non leg.
- - - - - -
Vn. II
v
} I I I I

ll
- - - - - -
Va.
v
} I I I I

.p. 19- .p. 19- .p. 19-

:
Vc.
mf
:
Cb.
 12 APPALACHIAN SPRING

118
> :;;
Fl.

Cl.
II!)

fJ • .fL • .,..,..,..,..,.. > >

-===11.,..
in II!) > >
,.-=::::::
.....
,
- :;;
:
Bsn.

20 r::-;- Motive
()
. - ### 1'-.fL.fl- > h .,.. __., b...
tJ L......J I L..-1 I .......,. I
- . Classic example of
-
Pno. fmarc. f
fl
- -
h. lt... >

diminution
-.. .. .. -
: : :
tJ "!' . I !>-
"!" * r

Vn.I
flt:#:t: unis.
### 1'- n h.
• • .,.. .,.. .,.. .,_ (smaller note values)
div.

- -
II!)

()
-
fmarc.
- lt.. n lt.

y
Vn.ll
...
-
II!) I I
fmarc.
fl b'f!'- b'f*' .,_.,_.,_ n b'f!'- .,_ .,_ .,_
Va.
- #

tJ ·;:

:
f2- ?
fmarc.
. . n .. • q.,_

-
: :
Vc.
fmarc. "!"
>
-
Cb.
:

123 ...--..__
(l 't: i
Fl.
II!)
f sf f sf sf fcresc. f
Cl.
(l
- > > > >

Texture in II!)
f sf f sf sf fcresc. f
:;; .,..
The winds sustain
#
: :
Bsn.
"!" I
"!" "!" "!"---
while the violins sf

- -
f sf f
> L .,...,.. > > L ._..,_ > L # .,_ b.... .,_ qt: >

repeat the same : : : :

if:;;
-
f-

-
fcresc.
-
f f sf
pitches; we often
Pno.
,....., lt. r--

- -
: :

need to create "!" "!" >

"!" >

n
sustaining parts Vn.I
fl t f: f: f:.f:. f: f: f: i
especially in an II!)

fl
sf
>
if===
>
sf
>
fcresc.
> > 1!,
f
n
>

active texture; we Vn.ll

tJ
- - - - - - - f-
sf if=== sf
saw this technique in .,.. b;. .,.. b.... > n

Beethoven 5
Va.
> - sf > -,....., sf >
fcresc. -,....., ..
·;:

-
f
;; • • .. q.,_ .,. n
Vc. : : :

"!"- .... sf "!" sf P!" "!"

fcresc. f
> > > >
:
Cb.
 Form APPALACHIAN SPRING 13

Even though the -,:. -,:. -,:. :a. > >

:a·
music is in 4/4 meter, Fl.
ll)
cresc. fff
the notes are beamed Cl.
II > > :: .. ... ;_. ::. .->.-- > > >
inm
in a tuplet pattern ll.i cresc.
.,:---.,..
fff
;_. ::. >__.- L>. > >
:
Bsn.
21 .....,...

. .. -
I
fff
:
L b..... fL t:
>
- > 1:.• .fiL
> f,,... q-,:.

- -
cresc. "'>-
Pno. l+. "t: fff > !!..... > .. qfL
: :

- ... - >
>
'l* ;:
y
l'l -,:. -,:. -,:. -,:. :a i: l!. .-k7"". > I >P,...f:.> • fL
Vn.I
ll)
cresc.
m I >-

Vn. II
l'l > > > I 1\_
- > • fL >
-
Va.
ll.i

-
cresc.
;. b..... > m I

-
"'>--
>
>
> > >
>
-
cresc. n7!J.. -
';; • > fff > !l-..

-
: :
Vc.
> ... ;:
cresc.
fff ... >
:
Cb.
" fff
>

131 :0:
l'l > > > --
Fl.
ll)
if if if ffp

Cl.
ll ;:;..- . ..,......-....... 1.-
ll) ;: > ;: ffp
1 ...
if if if
:
Bsn.
?
-
if if if
l'l
.. - >
,........,.__, > ... ... :f:.

Pno.
ll)

l'l
-
ll)

l'l #€
- >
,........,.__, > . -,:. v
Vn.I
tJ

l'l ... !!.....

q"! I

- >
"!
,........,.__, >
"! - >- :0.
--
......_......,
mf cant. espress .
Vn. II
ll)

l'l - >
,........,.__, >
- :f:.
ffp
>_-

Va.
ll)

:
- ffp

Vc.

if if if
:
Cb.
;j.' ;j.'
 Texture

Flute with a variation 14 APPALACHIAN SPRING

[M] Tessitura
of the material at 136
fl i= - f:
i=f:f: f:i=t: t ..........____

mm. 69; strings Fl.

ti First instance of an
nf
similar to number 9 z Cl.
in
fl
extended solo
but now mf, not forte
@.)

Bsn.
: instrument
22 fl

...,
Pno.
:

[M]
fl"
Vn.I
ti I
:64: .....__......, I

fl
mp
Vn. II
..., nf .......
-- p -
Va.
,if p
I

Vc. :
mf
....
p
:
Cb.
....
p

Fl.
14f .----..
ti

(},.
Cl.
inm @.)

Bsn.

fl

ti
Pno.

fl
Vn.I
ti
41:_ -___.....,
fl
Vn. II
I
ti -· 41:..__
,.,
Va.
I I ..._ I

Vc.
I ...._ .....

Cb.
._.....
 Doubling
15
The harp (playing
harmonics sounding 146
, fl

-
Fl.
8va) doubles the solo
z
-.;

flJO jL ;i. jL - /;i. jL

violin throughout this
section; very clever
Cl.
inm

Bsn.
-.;

:
pp- - . ;;. .
y
23 and beautiful texture mp

fl

Pno.
-.; -
pp (bell-like)
:

fl
Vn.I
-.;

fl
Vn. II

Va.
.., -9-"...._
- -
I

:
Vc.
......

:
Cb.

150 Form
fl ;:-r::-;..
solo
F $= . r.\
Fl.
-.;mp
flJO
p pp This section ends
Cl.
inm .., p pp
quietly with solo
Bsn.
......
: winds
fl r.\

-.;
Pno.
:

fl r.\
Vn.I
-.;

fl
Vn. II
..,
Va.

Vc. :

Cb. :