The Billy The Kid Scene 1 from the orchestral suite written by Aaron
Copland is divided into six sections. The first section features two melodies;
one derived off the folk song 'Great-Grandad' and the other is an interruption
theme, which also serves as a counter-melody. The start of the score indicates
to play in cut common time and the key signature is A flat Major (however, the
Horn and Trumpet show no key signature, which indicates having no key, although
the Horns show B flats throughout the piece therefore the Horns are in F Major,
no key).
The 'Great-Grandad' melody provides contrast from the section played
before the curtain rises. The melody almost creates a pentatonic scale, and is
childlike in its appearance. It also provides a magical feel, with the high
pitched timbre of the Piccolo and Tin Whistle providing the melody and the
strings sustaining an E flat pedal note throughout the first five bars. The
pedal note held across the Violins 1 and 2 as well as the Viola are three
octaves apart, which creates a feeling of spaciousness, and the high notes
create anticipation, with an added feeling of the notes hovering around the
melody.
The melody pauses in bar 8 and creates a pedal note which is a
reflection of the sustained E flat in the strings. The pedal note in the
Piccolo and Tin Whistle are also on an E flat, which is the dominant of the A
Flat Major scale which creates a feeling of being open to possibility. In Bar 9
the melody is taken up by the Flute 1, Bassoon 1 and 2, Clarinet 1, and the
bass Piano as they play a small fragment of the melody which repeats six times.
This repetition of the fragment creates a sequence, also known as call and
response.
In bar 12 there is a "splash" created by the Triangle, Harp,
Violins and Viola on an E flat (dominant), which is mirrored by an A flat pedal
note in the Double Bass (tonic). The E flat and the A flat in bar 17 create a
perfect cadence, before the original tempo resumes with the tempo marking 'A
Tempo', and the full melody returns in the Piccolo and Clarinet 1.
At figure 7, the Violins play another fragment of the melody as an
accompaniment with the marking pizz which helps convey grit to capture the
feeling of the Wild West. While the Piccolo and Clarinet 2 sustain an E flat
pedal note, the Oboe 1 and Trumpet 1 introduce an "interruption theme”. This
theme is another folk tune called 'Git Along Little Dogies'.
The Oboe and Trumpet then take over a pedal note of F, and the Piccolo
and Clarinet 1 resume the folk song melody 'Great-Grandad'. The interruption
theme then returns in the Oboe, Trumpet and now Flute, while the Piccolo and
Clarinet resume the pedal note on the dominant. At the end of this fragment,
there is a grace note before the G which jumps a 9th down to the F. This paints
imagery of the Wild West, as it is non-refined, and it helps give character.
The Bassoon, Horn, Viola and Double Bass join in with the interruption theme as
it is becoming more insistent and building in energy. The lower pitch of the
instruments in this modulation of the theme gives prominence, and the theme is
gaining more ground and strength through more instruments being added. This
gives more substances, and it gives a fuller sound.
At bar 35, the Piccolo, Trumpet, Violin and Oboe join the Bassoon, Viola
and Cello in the interruption theme. The articulation in this passage is
interesting, as on the first beat in each bar, there is a tenuto and is
followed by two staccatos. This emphasises the impact of the notes, and is
followed by another grace note and an interval jump of a 9th. The strings pick
up the grace note and interval jump, and in this passage Copeland displays
rhythmic syncopation. In bar 39 the strings have the grace note on the 4th beat
of the bar, landing on the F on the 1st beat, then the grace note on the 3rd
beat, landing on the F on the 4th beat. The Piano, Flute and Oboe then play the
grace note on the 2nd beat, landing on the F on the 3rd beat. This also shows
how Copeland creates a musical representation of the Wild West, through the
imagery of a wagon passing through the main street, rolling over uneven ground,
giving a feel of being lopsided and askew. The strings are then seen to create
an accompaniment with an ostinato, repeating the previous grace notes. These grace
notes and 9th intervals from bar 35 are fragments of the 'Git Along Little
Dogies' folk tune (interruption theme).
At Figure 9, the original folk tune returns ('Great-Grandad') in the
Piccolo and Flute. The right-hand in the Piano can be seen to be only playing a
few notes in each bar of the melody, which is a repetition from bar 16 in the
strings. The left-hand of the piano and the Clarinet are also playing the
melody, however at an interval of a 6th under the Piccolo and Flute. Therefore
they are not playing in unison; this provides discourse and gives character and
flavour. The strings also continue to provide an accompaniment.
At bar 51 the Oboe and Trumpet join in parts of the melody, and the next
few bars create a slight rippling/cascading effect before the return of the
original folk tune melody at Figure 10 (bar 57). The fragment of original folk
tune is played in the Oboe, Trumpet, Piccolo and Clarinet, and it serves as a
transition before Figure 10, and also contributes to the feeling of being
lopsided and askew, as well as the feeling of playfulness. There is also a
change in timbre, and can create the imagery of one group of people leaving the
stage as another group enters.
At Figure 10 the melody returns in the strings, however it is a slight
rhythmic variation of the original folk tune. There is a four bar rhythmic
syncopation in the Piano, as it is indicated by a dotted bar line for the
accents to sound as though in 3/4, instead of 2/2.
In bar 60 the 'Git Along Little Dogies' theme interrupts the original
melody, and this section of the interruption theme is also a variation from the
original interruption theme. As this second theme is played by the Trombone,
the Violins sustain a pedal note of the tonic, which creates imagery of the
vast openness of the plains in the Wild West. As the Trombone sustains an E
flat pedal note (dominant) the original folk melody returns in the strings.
Then from bar 69 to bar 107, Copeland explorers the unravelling of the
first section before experiencing a transition into a new folk song. At bar 70
the Trumpet shows a variation of the interruption theme, whilst the second and
third Trumpets, the second and third Trombone, the Tuba and the Piano bring
about the return of the previous waltz, with dotted bar lines seen in the piano
section. Also at bar 70 the strings are shown to be sustaining a pedal note on
the tonic.
This total silence contributes to the unravelling of this second melody.
At bar 75, dotted bar lines are shown in the Flute, Clarinet, Bassoon,
Horn, trumpet and strings section, as the Flute and Clarinets play fragments of
the melody. From bar 81, the Flute, Clarinet, Violins and Trombone create a
call and response/sequence, as well as a melodic diminution as the theme fades
away until a full bar of silence at bar 107 to mark the end of the first
section, then the transition to the second section. Also, from 70, the
accompaniment varies from the Brass section and the string section, to the
Woodwind section (pickup at bar 92). At
bar 82 it can be seen that the higher instruments drop out therefore the
continuation of the theme has a lower sounding timbre.
Figure 14 on the score signals the transition into section two where the
Trumpet 1 has the melody. Bars 108 to 115 repeat in two bar phrases, however
there is a different ending for bar 115. This repeated motif's purpose to
signal the transition from one section to another. For these bars, the rhythm
is the same, as each instrument plays chordal notes, which signifies a powerful
shift in sections. This fragment is indicated with ff, the strings are
noted to now be playing using their bows; these show a difference from figure
13. The majority of instruments are also indicated to play with an
emphases/accent and the horns are directed to play without mute. In bars 115-117, Copeland uses rhythmic
syncopation through accenting non-traditional beats, which gives the feel of
being in 3/4, instead of 4/4. This is due to the Piccolo, Flutes, Oboes and
Clarinets accenting beats one, four, three then two over the three bars (bars
15-17), with a response in the Horns on beats two, one then four over the same
three bars. This shows the repetition of the waltz from the end of the first
section. At bar 118, the time signature has now changed to 4/4, and the
semiquavers/quavers in the Woodwind and Strings give the feeling of energy as
it introduces a faster tempo. To provide a contrast from these instruments, the
Bassoon, Horns, Trombones and Tuba create a riff, which is taken up by the
Double Bass and Cello in bar 120 with the introduction of a new folk tune. This
riff continues in different parts until bar 138, where Section Three begins.
The new folk tune introduced at bar 120 is called 'The Old Chisholm
Trail', and semiquavers give the feeling of an increased tempo, and higher
energy. This melody also creates imagery of the Wild West, by creating the feel
of cowboys galloping through the small town. With the introduction of this new
folk tune, it also indicates the start of Section Two, and from bar 120 to bar
129 'The Old Chisholm Trail' melody creates the feel of an A section, followed
by a counter melody in the Trumpet at bar 123 to create a B section, followed
by the return of 'The Old Chisholm Trail' melody (ternary form). This melody is
melodically very simple, which is a common factor of folk tunes. At bar 123 the
riff can be seen continuing in the Horn, Trombone and Tuba, as well as in the
Double Bass and Cello parts. The Violins and Viola remain playing the melody of
the folk tune, and the Violin 1 can be seen to repeat an interval three times,
which is interrupted by the Trumpets 1 and 2. At this interlude in the main
folk tune melody, the Trumpet part becomes a counter melody, therefore there is
a call and response between the parts. After each perfect 5th interval in the
Violins and Viola, the note is sustained for two crotchets and a quaver while
the response/counter melody occurs in the Trumpets. This call and response
could symbolise in a ballet a conversation between either two characters or two
groups of characters. At bar 126 the full melody returns, with accompaniment of
the riff in the Horns, Trumpets, Trombones, Tuba and Woodblock.
At Figure 16, the melody again finishes with a perfect 5th, as the riff
is introduced in the Oboe, Clarinet and Bassoon. Also, a new folk song called
'The Streets Of Laredo' is introduced in the Trombones 1 and 2. This is also
the first time that Copeland has used triplets in this piece which creates the
feel of being refined. This could represent a gentleman coming to the front of
the stage, in contrast to the previous characters including perhaps children
and cowboys. As this new melody is in the Brass section, this shows contrast
from the other folk song in this section ('The Old Chisholm Trail'), as again
the melody has had a shift in timbre due to lower pitched instruments. 'The
Streets Of Laredo' melody is played by two Trombones, which gives this melody
more prominence and more harmony. The riff throughout these triplets is in the
Woodwind, whilst in the other folk tune the riff was in the Brass. This also
creates a change in timbre, as the Woodwind creates the sense of being refined.
At bar 132 the melody is in Trombone 1 and 2 while the riff is in
Trombone 3. At bar 134, the riff ceases in the woodwind, and is picked up by
the Horn, Tuba and Woodblock. After the silence at bar 133, the Cello and
Double Bass resume the riff. Also at 134, the triplets are interrupted by the
return of 'The Old Chisholm Trail' melody in the upper Strings led by the
Violin 1. This folk song in comparison to the previous creates a sense of
energy, as the triplets present the feel of a slower pace. At bar 137, a small
section of the melody is taken (fragment) - which is the interval of a perfect
5th - and this is repeated throughout two bars to create an accompaniment, and
also a transition to section three. As this theme fades into an accompaniment,
it symbolises in a ballet where one group moves to the back of the stage, to be
replaced with a new group as they make their way to the front of the stage.
Figure 17 signals the start of Section Three, and also a change in key
signature which remains through Section Three and Four. In the first bar of
Section Three the Oboes 1, 2 and Trumpet 1 have the melody. In bar 139, the
Oboes and Trumpet share the same note on the second and fourth beat of the bar,
however on beat one The Oboes have an F sharp while the Trumpet has a G natural,
and on beat three the Oboes have a G while the Trumpet has a G sharp. This
clash of notes creates dissonance. The Oboes and Trumpet 1 can be seen paired
together with the interruption theme, and this can be seen previously at the
beginning of the piece in bar 19 as they join together for the counter melody.
As this section is an echo of the first section, bars 139-147 echo bars
19-23 as both the Oboe/Trumpet share the counter melody/interruption theme to
be replaced with the Piccolo/Clarinet 'Great-Grandad' melody. At bar 146 the
Strings are added, to create a thicker texture and to build anticipation for
the return of the original folk song. This also helps to replicate the effect
of a crescendo. Before the original folk tune returns, the interruption theme
is repeated three times, each time building the number of instruments involved.
First, just the Oboes and Trumpet have the theme, then on the second time
repeating the Clarinets join, while the Trumpet 1 and Horn 1 provide an
accompaniment, and then on the third time repeating the Strings take over the
theme and a conversation ensures between the Strings, Piano, Oboes and
Clarinets. The Strings repeat an interval of a 9th, then the Piano, Oboes and
Clarinets play the same interval, and this continues over two bars. By Figure
18, the melody of the interruption theme has faded into an accompaniment
(ostinato) for the return of the 'Great-Grandad' folk melody.
At Figure 18, the violin and piano accompaniment creates a different
timbre, and this accompaniment is fairly light in texture compared to in
Section 1. Also, the 'Great-Grandad' melody starts on an E instead of an E
flat. In terms of percussion, a sleigh bell is introduced which can symbolise
bells on a horses' bridal. The return of the original folk melody in the
Piccolo and Clarinet create the same feel as the first section, and provides
the feeling of a previous character returning to the front of the stage. At bar
152, a fragment of the melody is created in the Piccolo which represents a
"call", which is imitated/echoed in the Flutes, Oboes, Clarinets and
Bassoons. This signals another transition to Section Four, and again Copeland
creates music to mirror the imagery of one group of characters moving to the
back of the stage, to allow for another group to take centre stage, as seen in
a ballet.
At Figure 19 Section Four begins, which has a fuller, more
orchestral/symphonic overall sound and this provides contrast to the previous
sections. The melody is in the first Horn, first Trombone, Violin, Viola and
Cello. The Violins play semiquavers to fill out the chord, and this technique
is also shown in the Flutes, Oboes and Clarinets. As the melody is played by
instruments with a lower timbre, this should create the feeling of a slower
tempo, however Copeland has counteracted this with an energetic harmony. These
chords provide a wash of colour, as can be seen in the Double Bass and lower
Brass. Copeland uses a call and response technique in the melody, as the
Trombone 1 and Violins respond with different melodic material after the
"call" from the first Horn. Also, at bar 163, the Violins transition
from the harmony to the melody. Although the real melody is between the Horn 1
and Trombone 1, the Strings provide continuity.
At Figure 20 Section Five begins, and provides a very different sound to
the one of the previous section. The melody is in the first Trumpet, and the
folk song is "Git Along Little Dogies". Starting from bar 165, there
are three bars of 5/8, followed by one bar of 4/8, and bars of 4/8 also appear
at bar 176, 180 and 190. In terms of duration, the Horns show dotted bar lines,
which assist the player to understand where accents fall when the time
signature is not easily divisible. The accents falling on the 1st and
3rd beat provides a lilting rhythm and an uneven meter which creates
a hypnotic feel.
The Horns provide the accompaniment with repeated quavers, and the
Bassoon gives momentum through a bassline riff which is repeated until Figure
22. At bar 168 a Woodblock is introduced, which Copeland uses to resemble the
noise made by horses' hooves. This timbre isn’t heard often, however it fits in
with the feel of the Wild West. The second and third Trumpets are used to add
bass, and enacts a conversation with the Bassoon. The melody in the Trumpet has
a very smooth contour, and this simple melody is also repeated in the next
Figure.
Figure 21 is very similar to Figure 20, which shows Copeland again using
repetition. The only difference in this section can be noted in the Strings, as
they join the accompaniment, with accenting the sub-division of the 5/8 time
signature. This helps define the time signature, and creates the feel of
building up to a climax, which in terms of the ballet, is when Billy's mother
is killed. The reason for this section is to add more definition by having the
same instruments as the last section, with the added timbre of the Strings.
At Figure 22, the Woodwind returns for the main accompaniment and the
Strings take over the quaver pulse that the French Horns had had in the
previous figures. These instruments create a different timbre than Figure 20
and 21. As stated previously, throughout these eight bars, there is a two-bar
repetition to create a transition to Figure 23.
Figure 23 signals the return of the "Git Along Little Dogies"
folk song in the first Trumpet, with accompaniment in the French Horns,
Bassoons and Trombone. The Bassoon returns with the bassline riff from Figures
20 and 21, as the beginning of this section is very similar to Figure 20. From
bar 205 to 210, there is a two-bar phrase that is repeated three times, as this
fragment creates an echo, and transitions the listener to the sixth and final
section.
The next section starts two bars into Figure 24. Section 6 has a lighter
timbre and texture, as there are less instruments at this point. The time
signature of 7/8 is non-divisible by two, therefore dotted bar lines are used.
The Horn and Strings show how the bar is divided.
A new folk song of "Goodbye
Old Paint" is introduced in the Violin 1, and the harmony in the Horns is
similar to the theme from Figure 22 played by the first Flute. The first Violin
and Oboe 1 and 2 have the melody, and Violin 2, Viola and Cello have quavers as
accompaniment. From bars 213-215 the Flute plays very low in its range, and the
repeated rhythm in the horns provides harmony and a lilting rhythm. In bar 217
the Clarinets and Horns have an accent on the 2nd beat, and this shows a
syncopated accompaniment. This accompaniment is also very gentle, and up to
Figure 25 the Viola has a diminuendo with the quaver accompaniment. At bar 218
the Horn can be seen sustaining a pedal note, and the second part of the folk
song melody is introduced by the Oboes at bar 221.
At Figure 25 the first part of the folk song returns in the first Violin, and at bar 28 the Violin is indicated with sul G. This continues until bar 235, and it provides a richer, darker sound. These figures create a wave/rolling feel in terms of dynamics, from Figure 24 with mezzo forte down to mezzo piano, down to piano and then up to mezzo piano in Figure 25, then up again to mezzo forte before the end of this figure and the start of Figure 25A. At bar 235 the Flutes, Oboes and Clarinets imitate a fragment of the melody which continues until bar 247.
At Figure 25 the first part of the folk song returns in the first Violin, and at bar 28 the Violin is indicated with sul G. This continues until bar 235, and it provides a richer, darker sound. These figures create a wave/rolling feel in terms of dynamics, from Figure 24 with mezzo forte down to mezzo piano, down to piano and then up to mezzo piano in Figure 25, then up again to mezzo forte before the end of this figure and the start of Figure 25A. At bar 235 the Flutes, Oboes and Clarinets imitate a fragment of the melody which continues until bar 247.
At Figure 25A the first part of the "Goodbye Old Paint" melody
returns in the Violin 1, and there are three distinct layers of sound. These
are the melody in the Violins, the first accompaniment which is the
continuation in the Woodwind of the fragmented melody and the second
accompaniment is the Viola, Cello and Glockenspiel. In the bottom towards the
end of page 719 the Woodwind tapers out, and the Horn second beat accent comes
into prominence. Four bars after Figure 26 the Clarinets take over the second
part of the melody which before occurred in the Oboes, and the strings return
with the imitation of the fragmented melody from bar 262. With the return of
this imitation, the Flute and Violin can be seen paired together, alongside the
paired Violin 2 and Clarinets. This section is a repetition of the previous
Figures, apart from now the imitation is in the Strings instead of the
Woodwind.
At Figure 26A the Violins have
the melody and are octaves apart. The layering is similar to before; the
melody, accompaniment on the 2nd beat, the fragmented melody in the Woodwind,
however this time there is a fourth layer with the Horns accenting on the 3rd
beat in the bar. This figure also shows the range of instruments increasing. At
bar 272 the melody is taken over by the first Trumpet, and the Cello and Double
Bass provide an ominous feel. The Woodwind quavers at bar 273 create the sense
of a panicked argument with characters talking over the top of each other. It
also provides the feeling of escalating to a climax at the end of the piece.
At Figure 27, the imitation returns in the Woodwind and Percussion (Glockenspiel and Xylophone). The melody returns to the Violins and Viola, and remain an octave apart, and this can be seen to be played at fff. The Trombone 3, Timpani, Bassoon, Bass Drum, Tuba, Cello and Double Bass are still accenting the second beat in the bar, and the Piano, Trombone 1 and Horn are accenting the 3rd beat. In this figure the tension is still escalating to symbolise an argument within a crowd of people.
At Figure 27, the imitation returns in the Woodwind and Percussion (Glockenspiel and Xylophone). The melody returns to the Violins and Viola, and remain an octave apart, and this can be seen to be played at fff. The Trombone 3, Timpani, Bassoon, Bass Drum, Tuba, Cello and Double Bass are still accenting the second beat in the bar, and the Piano, Trombone 1 and Horn are accenting the 3rd beat. In this figure the tension is still escalating to symbolise an argument within a crowd of people.
The Piano, Oboe and Clarinet are
now opposed to the Flute, Piccolo, Violin 1 and Violin 2 to which the second
and third Trumpets have joined. The same instruments continue to accent on the
second beat, whilst the third beat is now only accented by the Horn, Trumpet 1
and Trombone 1. This all contributes to the feeling of the melody and
accompaniment unravelling.
At Figure 27A on the last page of the score, at bar 289 there is a silence, before quintuplets in the Violins and Viola. In this bar (bar 290) there is a note which is sustained in the Woodwind and Brass, before another silence, and then another sustained pedal note, before another silence. In bar 293 and 294, the first beat in the Bass Drum which is supported by the Cello and Double, symbolises two gunshots. This part is very dramatic, and this marks the end of this score by Aaron Copeland.
At Figure 27A on the last page of the score, at bar 289 there is a silence, before quintuplets in the Violins and Viola. In this bar (bar 290) there is a note which is sustained in the Woodwind and Brass, before another silence, and then another sustained pedal note, before another silence. In bar 293 and 294, the first beat in the Bass Drum which is supported by the Cello and Double, symbolises two gunshots. This part is very dramatic, and this marks the end of this score by Aaron Copeland.