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ABSTRACT
WILLIAM GRANT STILL—THE MAN AND HIS MUSIC
by Ralph Ricardo Simpson

The purpose of this study is to place works of William
Grant Still before the reader, so that he may perceive this
great Negro composer's essential style and artistic worth
in the world of music.

It is further the purpose of this study to honor a great
man, who has held to high ideals and standards, amid undue
hardships - many of which were imposed upon him because of
his race, and others because of his repudiation of contemporary
trends of composing music.

The controlling purpose of this study is to project the
life and works of a man, against whom "three strikes"
prevailed at birth, to readers who suffer a similarly underpriv-
ileged existence, because of ethnical origin; with the hOpe
of showing that perseverance and hard work transcend all
obstacles, and that all who will assume initiative can endure!

This study presents pertinent facts concerning the life
of William Grant Still, beginning with his formative years,

and extending through the present.

 

 

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Ralph Ricardo Simpson

The musical compositions treated in the study have been
selected according to three principal factors: (1) suggestions
made by the composer himself, (2) availability of the works,
and (3) pertinence in illustrating diversity of style and
technic.

This study seeks to give significant details of pieces
from which valid conclusions can be drawn as to overall style,
technics, and effects. Detailed harmonic, formal, and
stylistic analyses are made in rare cases.

This study, finally, is comprehensive, adequately covering
the entire range of William Grant Still's compositional effort.

 

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WILLIAM GRANT STILL—THE MAN AND HIS MUSIC

BY

Ralph Ricardo Simpson

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

DOCTOR OF PHILOSOPHY

Department of Music

1964

 

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PREFACE

The author wishes to express his sincere thanks to
Dr. William Grant Still for his unqualified sanction and
full cooperation in this study.

Gratitude is further extended to: (1) The Lilly
Foundation, (2) United Negro College Fund, (3) Dr. Albert
w. Dent, (h) Dr. Frederick D. Hall, who introduced the
author to Dr. Still, and (5) Mr. Kurtz Myers, Chief, Music
and Performing Arts Department, Detroit Public Library, for
his invaluable assistance in making out-cf-print materials
available.

Finally, the author is deeply indebted to Dr. J. Murray
Barbour for his advice in the preparation of this study, and
to the other members of the Guidance Committee: Dr. Walter

L. Hodgscn, Dr. H. Owen Reed, and Dr. William.8. Bur.

11

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CHAPTER

I.
II.

III.

IV.

VI.

‘VII.

TABLE OF CONTENTS

THE MANOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO0.0...

ORCHESTRAL ‘JORKSOOOO000......OOOOOOOOOOOOOOOOOO
Darker America...............................
Afro-American symnhonYOOOOOQOOOeeeoceeeoso...
Symphony in g Minor..........................
l2- IiIe'noriamOOOOOOOOOOOOOOOOOOOOOOOO0.0.000...
Symnhony Number Four......................ooo
ESE-You, America-0.00.00...OOOOOOOOOOOOOOOOOOO.
Pages from Negro History...o.................
The American Scene...........................

 

 

PIA-NO WORKSOOOC.0.0.0.0000...000.00.00.000.00..
Three Visions................................
"DellS"OOOeo0000000000000000000000000000.0000

seven TracerieSOOOOOOOOOOOOOOOOOOCOOOOOOOOOOO

CHORAL AND VOCAL WORKS....................;....
"Rising Tide" ................................
And They Lynched Him on a Tree...............
"Plainchant for America" .....................
From a Lost Continent........................
Caribbean Melodies...........................

 

STAGE WORKS....................................
Lenox Avenue..........o.............o.......o
Highway Number One, U. S. A....................

 

SUDIPIARYOOO.000000.00000000000000...0000000000..

BIBLIOGRAPHY...0.0.00.0.0....OOOOOOOOOOOOOOOOOQ
LIST OF COMPOSITIONS AND DISCOGRAPHY...........

111

Page

25

44

67

97
106
123
132
145

158
161
170
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200
202
209
228
239
250

270
272
286

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323

CHAPTER ONE

'THE MAN'

 

 

WILLIAM GRANT STILL

When writing about Americans of Negro ancestry, it has
been customary to mention their humble and lowly beginnings,
'or‘to expound upon lurid aspects of their lives. The life of
William Grant Still, however, makes it necessary to depart
from this custom, as he was fortunate in having well-educated
parents who could afford a good physical and intellectual -
climate for him. Born on May 11th, 1895, in Woodville,
Mississippi, Still enjoyed this climate from the very beginning.
Both his parents were accredited teachers; both were musicians;
both were talented, brilliant, and versatile. The father's
musical education was gained at the expenditure of great effort.
Every cornet lesson he took, for instance, cost him a seventy-'
five mile trip. Once he had acquired musical knowledge, he
‘started a brass band - the only one in town - and thus became
the idol of Woodville.

Still's father died when he was but three months of age.
After his death scraps of paper were found, on which he had
attempted to compose music. Had he enjoyed the opportunities
accorded his son many years later, he might have become equally
famed. Hie image as a good citizen and musical gentleman re-
mains in the cherished memories of those in Woodville who.

’ knew him.

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Mrs. Still, now a widow, decided to move to Little Rock,
Arkansas. Here she served as public school teacher until her
death. It is no wonder that as soon as little "Billy Still"
realized what music was, his thoughts turned toward it so
fervently that no scoldings, no arguments nor pleadings, could
shake his desire to become a composer, although on several
occasions he indulged in the popular pastime of most boys, the
idea that the most thrilling thing in life was to be a streetcar
conductor, or to own a big chicken farm.

Many times he amused himself by making toy violins to
play upon. They were varnished and equipped with strings-
the real thing! They even succeeded in producing tones!

This ardent desire to play the violin caused his mother to
decide that little "Billy" should have violin lessons.

No sooner did he learn to read notes than he wanted to
write them. He made his own manuscript paper, Jotted down
JJttle melodies from time to time, and carried the new
enmhusiasm to school. When other students were scratching
aimlessly on paper in their leisure moments, he scribbled notes.

While his grandmother worked about their house, she sang
hyfimw and spirituais. "Little David, Play on Io' Harp" was
one of her favorites. Thus Still grew up with the songs of
Iris Emople, and learned to love the old hymns, which he plays
even today, with the addition of such exquisite harmonies, that

they assume sheer beauty.

     

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He Laarned to sing, and did not confine his singing to
the immediate family. The aisles of trains became a splendid
setting for his youthful attempts at vocalizing. He quickly
noticed that people gave him money and candy in return, so
he thenceforth sang for everybody he saw.

When young Still was about nine or ten years of age, his
mother married Charles B. Shepperson, a postal employee, who .
was a lover of operatic music, and who spent a large share of
his earnings to buy a phonOgraph and the best Red Seal re-
cordings. This gave the boy an opportunity to hear music that
pleased him more than any he had ever heard before; music that
he had thought existed only in his wildest dreams. He used
to play each recording over and over, to the utter neglect of
whatever work there was for him to do. Mr. Shepperson also
took him to good musical shows and told him stirring stories
that fired his romantic imagination. At home, they sang duets
tagether and discussed the plays they had seen, and the music
they had heard.

The high moral character, determination, good sense, and
talent of Still's mother influenced his life strongly. She
was the sort of vital personality who could command attention
merely by entering a room. Her students adored her, and learned
much from her. Her young son was among the benefactors of her
tireless interest and effort. He was in her classes, and found

her to be stricter with him than with anyone else, for she did

not want to be accused of favoritism.-

William Grant Still was graduated from high school at the
age of sixteen, with the distinction of first honor bearer and
class valedictorian.

Although she was at heart in sympathy with his desire to
.become a composer, his mother openly avowed her disapproval,
simply because she felt that there was then no future for a
musician, especially for a colored one. Thus, when Still
enrolled at Wilberforce University, he worked for a Bachelor
of Science degree. Wilberforce statistics today show that
he maintained a slightly above average scholastic record.

At Wilberforce, Still found appreciative friends when he
started to lead the band, to train players for it, and to
make musical arrangements for it to play. It was here that he
made his initial efforts toward musical creation on a relatively
large scale. Wilberforce had a string quartet, which promptedf
the first arrangement he ever made. From that, he went on to
arrange pieces for the Wilberforce band, of which he was first
a member, then, bandleader. These arrangements were perhaps
not perfect, but they had fewer defects than one would expect
from a beginner. He made these because he did not like the
instrumental ensembles he heard. Therefore, he automatically
set about to remedy their faults.

Every month before his allowance came, the music books

he wanted were checked off, and as a result, music publishers

 

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and dealers practically confiscated all his spending money.

When he started to buy opera scores, his first acquisition was
Weber's Oberon. The second was Wagner's Flying Dutchman.

His French class was enlivened and made more interesting for him
when he took into it a music book containing stories of all the
famous symphonies and read it while class was in progress.

The teacher never discovered the substitution!

Some of his professors went with him to operas and concerts
in Dayton, Ohio. Other professors encouraged his efforts at
composition, and it was at Wilberforce that the first complete
concert of his own compositions was given. The approbation
accorded Still at this time meant much, and caused him to make
greater strides during this nascent stage of his career.

He learned to play the oboe and clarinet, in addition to
furthering his knowledge in violin playing. He played the
clarinet along with the choir, and thus learned to transpose

easily, for no separate parts were available to him at the time.

In his role as bandleader, Still had to learn to play
different instruments such as the piccolo and sax0phone, so
that he could teach them to other players. The intimate
knowledge of all instruments gained in this venture has meant

much to him as a masterful orchestrator.

At Wilberforce, Still decided that he wished to emulate

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Coleridge-Taylor, the English-Negro composer. He spent many
months in fruitless attempts to make his hair grow straight
upward, as did that of his hero. That failing, he made a new
decision: some day he would be even greater than Coleridge-
Taylor, and wear his hair in his own way!

During summer vacation from school, Still used to enter
national contests for composers. To avoid his mother's scorn,
he would compose his entries at night, and beg those who dis-'
covered him not to tell her. He entered a contest for a
three-act opera, and ambitiously mailed out a score totalling
twenty pages in length! He entered another contest in which
the Judges wrote to inform him that his music had merit, but
that they were afraid they didn't completely understand it!

Still left Wilberforce within two months of graduation.

At the close of his stay at the college, he and his mother had

a disagreement, as a result of which he left home and began to
earn his own living in Columbus, Ohio. Upsetting as this was,

it doubtless had a profound effect on the music he was to compose
later. Had he stayed at home, accepting his mother's bounty,

he might have gone to a conservatory of music, and there might
have learned no more than the academic way of composing music.

The years that followed his dropping out of Wilberforce
were lean ones. They were years during which he married, worked
at odd Jobs for little money, played oboe and 'cello with various

orchestras, starved, froze, joined the U.S. Navy, and nearly

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always wondered how he could crash the business of making music
and getting paid for it. It was during these years that he
received a legacy from his father and promptly put it to good use,
studying privately at the Oberlin Conservatory of Music. At
times he had to work to get enough money to pay for his tuition;
at other times he received scholarships to aid in his training.

Still completed one semester's work in theory and violin.
Professor Lehmann, impressed by his talent and sincerity, asked
him then why he did not go on to study composition? Still
replied frankly that it was because he had no money. A few days
later, Lehmann informed him that in a meeting of the Theory
Committee it had been decided that he was to be given free
tuition, and that Dr. George W. Andrews was to teach him
composition.

Later he was given scholarships with two men of widely
divergent musical tastes: George W. Chadwick of the New England
Conservatory, a pioneer North American composer, and Edgar
Varese, French ultra-modernist. From each of them he acquired
valuable knowledge. Mr. Chadwick sharpened his own self-
critical faculties, while Mr. Varese led him into new and untried
paths of musical expression.

Still's introduction to the latter was very interesting:
Back in New York City, Still accepted the position of Recording
Director for the Black Swan Phonograph Company. There he

found a man preparing to write to Edgar Varese to tell him that,

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in response to his request for a talented young Negro composer
to whom he could offer a scholarship in musical composition,
he knew of no one suitable. Still said, "I want that scholarship.
You can Just tear up that letter!" Thus came about the introduction
of Still to Edgar Verese and to modernism.. Now, Still often
declares, "When I was groping blindly in my efforts to compose,
it was Varese who pointed out to me the way to individual expression
and who gave me the opportunity to hear my music played. I shall
never forget his kindness, nor that of George W. Chadwick and the
instructors of Oberlin."

Meanwhile, the commercial work in which he engaged -
orchestrating for Broadway shows, conducting radio orchestras,
and so forth - supplied an education of an entirely different sort.
It was this type of work that made Still entirely self-taught in
the field of orchestration. His desire to experiment and to
create new orchestral tone colors quickly marked him as an
innovator and a pioneer. Many of the instrumental effects used
today by other orchestrators actually stem from his early
efforts.

He later went into business as an arranger, and made
arrangements for such peOple as Sophie Tucker and Don Voorhees.
He orchestrated several editions of Earl Carroll's "Vanities",
one edition of J.P. McEvoy's "Americana", and "Runnin' Wild"
and "Rain or Shine." Later he arranged for Paul Whiteman, who

was to play some of his compositions for the first time in public

 

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13

and to commission several notable works from him.

He was the first to arrange and record (with Don
Voorhees) a fantasy on the famous "St. Louis Blues".

This was done in 1927, on a Columbia disc.

The last orchestra with which Still ever played
professionally was that of LeRoy Smith. So much work as
arranger and orchestrator came his way that he was no
longer in need of such work to make a living.

When CBS first opened, Still was arranging Don
Voorhees' music for the network broadcasts. Somewhat later,
he was arranging at NBC when Willard Robinson was singing
on the Maxwell House Hour. Soon Still was making arrangements
for Robinson's "Deep River" prOgram and at WOR. Some of
the orchestra personnel quietly suggested to Robinson that
Still be allowed to conduct their organization. The
management agreed, as long as the men were satisfied.

In that way, he became the first American of color to lead
a radio orchestra of white men in New York City, and he
held this post for many months.

The latter position helped him to become intimately
acquainted with jazz, the American musical idiom that has
been damned by so many, and praised by so many more. He,
too, realizes that jazz has many faults, but also realizes.

that it has many fine points, and believes that from its

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14

elements a great musical form can be built.

Today he points out the many things jazz has given to
music: rhythm, new tone colors, interesting orchestral
devices, and a greater fluency in playing almost all of the
orchestral instruments. He mentions the amazing things a
modern player can do--things that would have caught an
oldtime symphony man napping. He believes that every composer,
to deserve the name "American", should be thoroughly acquainted
with jazz, no matter whether he uses it much or li§§le in
his work. It is one of the few musical idioms developed
by America that can be said to belong to no other people
on earth.

The foregoing discussion deals with the activities of
Still which could conveniently be called the First Period.
This was the period during which this young composer was
groping blindly in his efforts to compose, a period during
which he held varied positions as performer on various instru-
ments, arranger, orchestrator, and so forth. A period of dis-
sonantal explorations this was for Still, indeed. Before his
study with Mr. Varese was over, Still had tried, and found
wanting, many of those unusual ultra-modern experiments in
sound that are still incorrectly labelled "music". He had
become more dissonant than some of the acknowledged disciples
of dissonance, to such an extent that those disciples hailed

his early efforts joyfully. After a few of these compositions

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15

had been played in New York, however, young Still began to
have grave doubts about the value of the idiom, and particu-
, larly about its suitability for him. He thus discarded
dissonance for dissonance's sake, and this marked the point

at which this First Period terminated.
SECOND PERIOD

Still assumes the Negro idiom in this period. This
seemed to him to be more in keeping with his own individu-
ality at the time. Some of the works he wrote after making
.this decision are still played and have become, in fact, among
the best known of all of his compositions. They are the
Afro-American S hon , Africa, "From the Black Belt", and
the ballet, Sahdji.

It was not long before he began to feel about the racial
idiom exactly as he had felt before about the discordant idiom:
that it was too confining, and that it should not be an end in
itself. So, in the early thirties, he embarked upon a creative
period which has not yet ended, and during which he has
utilized any or all idioms which have seemed to suit the purpose
of the particular composition he was writing at the moment - but
always with a singleness of purpose and with good taste,
never in haphazard fashion. '

Still feels even now that this method is the answer to many
of the problems arising among contemporary composers. If

followed, it would bring variety to the concert hall and

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rekindle the waning flames of audience interest in modern
music.

One of this composer's major interests is audiences.

Not in the sense that he believes in "writing down” to
people, nor in writing what is generally termed "pOpular"
music. Rather, with the knowledge that an audience is,
after all, the ultimate consumer of a composer's product,
and that it must find in that product something that is
needed and wanted, or else it simply turns away.

Still believes that it is possible to compose serious
music that is truly serious and yet will still fill an audi-
ane's needs. He deplores the ego which causes some composers
to expect people to hear and applaud their works, whether
worthy or not, as much as he deplores the insistence of some
schools of musical thought that their way is the only way!

Another type of composer with whom Still is in dis-
agreement is the one who listens too carefully and too often
to other composer's works, with the idea of finding out what
is being done currently, in order to follow the "general trend?
He, on the contrary, tries not to listen to the works of others
beyond getting acquainted with them, for fear of being influenced,
consciously or unconsciously. This is not a disinterest on his
part in others' work, but, it is a reluctance to assimilate
what does not belong to him.

Similarly, he finds it hard to accept arguments over
atonalism versus nationalism in music. To him, there is some-
thing useful in both idioms. He finds dissonance effective

when dissonance is needed, but he does not agree that dissonance

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is the sole end of all music, and thus finds a great deal of
beauty in the various schools of nationalistic thought.

Two works of beauty which emerged from this period well
illustrate this composer's philosophy on the above subject:
”Winter's Approach”, to works by Paul Lawrence Dunbar, and
"Breath of a Rose", to a poem by Langston Hughes. The former
was written for Mayra Freund, the latter for a stage pro-
duction in which Paul Robeson was to have been featured,
though the song was not intended for Robeson to sing. In
these two simple songs, published by G. Schirmer, Inc., Still's
scope as a composer and his distinction are evident. Both are
indubitably his own, yet are entirely different in character,
their ultimate form having been dictated by the subject.

They show the sharp individuality of the music, the lack of
monotony, and give evidence that, though he is decidedly a
modernist, he is not an ultra-modernist. His vocal writing
reflects a sympathetic attitude of the composer for the singer.
Throughout both songs, the piano accompaniment plays an impor-
tant part, expressing mood and meaning, and illustrating the
true art song in the hands of a master.

In Still's Opinion, each nation has something distinctive
and valuable to contribute to world culture; each nation's
composers, artists, and writers should consider it a duty and
a privilege to preserve and further their national heritage.

In the early thirties and afterward, when Mr. Still moved
to the West Coast of the United States, away from New York, and

away from the compulsion to do as others in his field were doing,

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he wrote many compositions which demonstrated versatility in
the variety and type of music he composed. At the same time,
he succeeded in developing a decidedly personal idiom, one
which is clearly recognized as his in all his works. This
is something few composers in all history have achieved.

Closest to Still's heart are his operatic works, some of
them as yet unproduced. He has written several operas and
ballets, which will be mentioned later, and each one is different
from that which preceded it. Among the choral and orchestral'
works are many which express his own sharpened social consciousness,
and his selection of subjects which speak of the brotherhood of
man. Some of these are: And They_Lynched Him 93 a,2§g§,
In Memoriam, Rhapsody, The Little £2125. That Wanted _t_o_ be a
S phon , and so forth.

Such compositions as "Poem for Orchestra" and "A Psalm
for the Living" are the outgrowth of one of his earliest
ambitions: to be able to serve God with his creative ability,
and to try in every way to make his music point to the Supreme
Creator. It is for this reason that every one of his scores,
from the smallest to the magnificent symphonies, bears the
inscription, "With humble thanks to God, the Source of Inspi-
ration". Yes, Dr. Still is very religious, despite the fact
that he is not a "joiner".

This creed which Still holds regarding the desirability
of making his music point to the Supreme Creator is exemplified
in his constant labor in the direction of perfection. Africa,
Which critics said was "not as inchoate or as desultory" as

some of his previous works, quickly became one of his most

   

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19
highly praised compositions. Jhy? During five years, four
different versions of this work were scored, three of which
were performed. In January of 1933, a fifth and supposedly
last version appeared. But in 1935 Still noted a flaw, and
a sixth version was produced. This constant revision is not
unusual with him. Many things are destroyed by him completely
because, in his own judgment, they "weren't good enough".
He constantly criticizes his own work, and constantly revises!
This results in much extra labor, but he feels that final
perfection justifies it. This also results in the duplication
of titles, which made the problem of listing the composer's
work very difficult.

Another creed of Still's is to create his own melodies,
and not simply quote folk music: he Spent about a year and
a half preparing to write "Sahdji", absorbing African atmos-
phere so as to be able to write in that idiom without resort-
ing to authentic folk material. The so-called "Invitation
Dance", when Sahdji lures Mrabo into the hut, came to him
first and around it he built the rest of the ballet. Once
begun, his eagerness to complete it knew no bounds. In its
form, the old Greek dramatic model is approximated.

Even though, Still does not make'direct quotes from folk
songs, he has made significant investigation in the area of
folk music. Not only has he interested himself in setting_
North American Negro Spirituals, but also in arranging some
of the ingratiating melodies coming from other countries in
the Western Hemisphere, such as his string quartet, "Danzas

de Panama", "Vignettes", and Folk Suites numbers 1, 2, and 3,

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for various small chamber ensembles.

Still's works are intensely racial in character, despite
his classical intent. His music is strongly melodic and throbs

with emotion. When his Afro-American Symphony was performed in

 

Germany, it was considered by critics there to be the most
characteristically indigenous music to have come from this
country so far.

Still has no complex about race conflicts. He says he
has had as many breaks in his musical career as any white
musician would have had. He feels that it is the purpose of'
the Leftists to destroy racial understanding, and he will have
none of them! His memories of Little Rock have to do with
being privileged to live in a community of rare vision and
enlightenment, and he is pleased with contemporary reports
of inter-racial goodwill there. He points out that every
colored artist must first be worthy in his field, and second,
a force in good race relations. Thus, he declares, his
Arkansas background had a great deal to do with shaping his
outlook on life.

Mr. Still holds deep convictions regarding leftist
infiltration and its diabolical effects on Negro music. He
feels that it is necessary for the problem the American Leftists
have created to be understood, and that Negroes must learn to
recognize the truth and evaluate merited worth. He suggests
that honor be weighed, and that every publicity release must
be scrutinized against the actual quality of the artist before

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In summation, this Second Period, then, was one during
which this great composer found himself, and assumed the
Negroid musical idiom, within which he works even today.

It is the period which encompassed the creation of works that
characterize the man's entire output. One needs to look no
further than works such as the Afro-American Sygphonz,
Africa, S .hon in G Minor, and so forth, for a catalogue
of the entire scape and spread of the man's Milli}. o erandi,
as well as his significance as a purveyor of a Negroid and,
yes, a nationalistic style.

, -THE SIMPLE LIFE-

Still prefers to live and work simply and quietly at
his home in Los Angeles, California, where he fills each day
with a varied assortment of chores. In the morning, music,
in the afternoon, constructing useful objects for the home,
tending to plants, and so forth. His interest in young people
has been stimulated by his own children, so that in recent
years he has composed several works especially for youngsters.

Still has few recreations. He is not a ”social" person.
Almost all of his time is spent in steady, feverish work, in
an effort to get everything done, and to say all he must say
‘before it is too late.

One afternoon a visitor entered the little room where
Still.works. "It's warm today", he remarked. Still looked
up from his composing. "Is it?”, he asked. "Yes". "Then
I guess I'd better take cff my coat.”

Still is very personable and humble. 'Whenever he feels

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22

that he has done something worthwhile, whenever something
pleases him, or whenever a new honor is accorded him, he

sits down and humbly gives thanks to God, the Source of
Inspiration. The real clue to his personality is his pro-
found reverence to God and deep concern for his fellowman.

He is not impressed with his importance. At a meeting of the
N.A.A.C.P., after the speeches had been unusually long, some-
one noticed that the renowned composer, William Grant Still,
was in the audience. Would Mr. Still consent to speak to
them on some matter of moment? The famed composer arose in
an impressive silence. Then, with all eyes focussed on him
said: "I wonder whether everyone is as hungry as I am?"

Then he sat down, and the meeting was dismissed.

Yes, his is a warm, sincere and friendly personality,
even as is his music. So it is fitting that he has dedi-
cated himself and his work to the task of bringing men to-
gether in brotherhood. Successful thus far, he hopes only
that his work will have made a resounding contribution to
that goal when the last note has been played and the last
song sung.

During his lifetime, this composer has received many
honors: honorary degrees from four universities in the
United States, commissions from the League of Composers,
Paul Whiteman,.the Cleveland Orchestra, and the Columbia
Broadcasting System. In 1939 he was selected to write the
Theme Music for the New York World's Fair. In l9hh he won
the Cincinnati Symphony's prize for the best overture to

celebrate its Jubilee season, and in l961 he won the prize

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offered by the National Federation of Music Clubs and the
Aeolian Music Foundation for a composition dedicated to

the United Nations. This was "The Peaceful Land", introduced
by Fabein Sevitzky and the University of Miami Symphony Orches-
tra. On May 13, 1963, his new one-act opera, Highway N2;'Qgg,
was given its premiere at the close of the University of
Miami's fourth annual Festival of American Music. Mr. Still

is today a respected member of ASCAP, and a life member of
Local #7, A.F. of M.

What is he doing now?1 This can best be summed up on the
postscript of a letter sent to this writer by Still on August
26, 1963: ........"Some of my music is currently being played
over television and radio, often when I am not aware of it in
advance, but I am not composing directly for any commercial
medium. I am simply composing, with quite a few commitments
ahead".

Behind this great composer is a woman of great stature.
She is his wife, the former Verna Arvey. She is very talented
as a pianist, writer, and choreographer. Mrs. Still is the very
vital force behind William Grant Still. She writes libretti for
his operas, arranges for concerts of his music, writes program
notes, plays his music, answers his mail, and generally removes

prohibitive distractions which would curtail his endeavors as a

dedicated composer.

 

1 Still now serves on the Mayor's Advisory Committee on the

Arts for Los Angeles, California.

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Amid all the responsibilities outlined above, Mrs.
Still is a very excellent homemaker. This writer will never
forget the warm hoSpitality accorded him during his visit in

the Stills' home recently, and those delicious meals are in-

describable!

CHAPTER TWO

-Orchestral Works-

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ORCHESTRAL WORKS

The works that are discussed in this section were
selected according to their worth in reflecting the
various styles, techniques, and mannerisms of William
Grant Still. _'I‘_h_e_ Afro-American Symphony and the Sn. phony
i3 g m are his favorites. The remainder of the works
discussed here are highly recommended by Still as being
significant to the present study.

Many of these works are either unpublished or out of

print. This accounts for the detailed description given

in some instances .

26

 

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Darker America

1
”Darker America was intended to suggest the triumph

of a peOple over their sorrows through fervent prayer?
At the outset, the strong theme of the American Negro is
announced by the strings in unison. Following a short
development of this, the english horn announces the Sorrow -
theme which is followed by the theme of Hope, given to
muted brass, accompanied by strings and woodwinds. The
Sorrow and Hope themes appear intensified, and the Prayer

is heard, stated by the oboe. Strongly contrasted moods

follow. At the end, the three principal themes are

combined in triumphant music.

This piece dates back to 1924, and at the time it
was composed, it was Still's strongest work. The program
for it was compiled after the creation of the music.

It was first performed by the International Composers'

Guild, with Florence Mills as soloist and Eugene Goossens

conducting, on November 28, 1926, in New York City.

__

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. Fischer and Bro., New York, N.Y., 1939, pp 39-40

 

 

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28

Still does not consider Darker America a good
example of his work. It is, he declares, afragmentary?
It contains too much material. At the time it was written,

he was struggling with musical form. His conception of
form was still rather hazy.

The orchestration for this composition is as follows:

WOODWINDS: 2 Flutes, Oboe, English Horn, 2 Clarinets in
B-flat, 2 Bassoons, and Contrabassoon

BRASSES: Born in F, Trumpet in B-flat, 1nd Trombone

PERCUSSION: Cymbal, Bass Drum, and Piano
STRINGS ’

Darker America opens with a tempo marking - “Very
Slowly“, All! meter, J a 56. The Key is G minor.
The strings play the following motive (American Negro),

each on its lowest string, as follows:

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29

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The woodwinds respond with the following motive:

 
   

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The flutes first play this motive, and the bassoons
imitate at the octave. This brings us to measure 5 where
the motive of example 1 is restated by the strings,
Slightly altered, thus:

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The above motive is answered by the clarinets, this

time as follows :

Ex. 1:

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This eight-measure dialogue forms the first half of the
introduction of the piece.

At measure 10 the woodwinds play in chorale style in
the F-sharp area, while the upper strings utter a new
version of the flute motive of example 2 in D minor.

Noteworthy is the counterpoint in the trumpet and piano,

as follows:

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Here the trumpet plays a typical blues-like melody, against
the lazy rhythm played by the piano. This triplet figure

in the trumpet part is soon carried by all instruments,

as the orchestration thickens, and the opening motive of

the composition is the basis for the extension that prevails.
The cymbal enters at measure 12 to lend support to the

build-up. This concludes the introduction.

The tempo marking changes to J = 69 at measure 16.
Here the english horn plays the Sorrow theme, which is
an augmented version of the American Negro theme that
opens the piece. The accompaniment to this theme is
fox-trct-like, and appears in "Lenox Avenue”; a later work

of Still's, as follows:
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The strings and woodwinds play an accompaniment to

this version of the Sorrow theme that is based also on

the introductory motive.

At measure 29 this theme is carried by the strings

with new harmony, at original tempo, as follows:

Ex.7

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(Written note: 9o: bus)

This statement by the strings concludes at measure (+1.
During this statement the triplet figure, derived from the

tFrmnpet counterpoint of example 5 is intermittently stated
by the woodwinds.

At measure 37 the muted brasses carry the Hope theme,

Etc°°mpemied by strings and woodwinds. The trumpet follows

33

a tonal plane different from that of the accompanying
instruments. It is noteworthy that all twe1Ve notes of
the chromatic scale are used harmonically within the
span of four measures, thus:

Ex. 8

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At measure 42 the piano and lower strings begin a
fourteen-measure link, based on the opening motive in A

minor, as follows:
Ex. 9

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During this fourteen-measure link the orchestration
thickens to full orchestra, FFF, at measure #8, after the
tempo quickens to = 116.

At measure 52 only the first and second bassoons and
lower strings play, leading to the Prayer theme, as follows:
Ex. 10

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35

The writing here is very impressionistic, as the result
of harmonies in the accompaniment which are based on the
whole-tone scale. This Prayer theme is stated between

measures 56 and 63.

A faster tempo -J= 72, at measure 64 begins an
eighteendmeasure episode. This episode commences with
solo viola, accompanied by the clarinets and first
bassoon, playing a version of the opening motive of the ‘
piece, "passionately". The texture here is very thin,
but the agitated bassoon part makes for interesting

counterpoint , as follows:
Ex. 11

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At measure 68 the cellos and basses pound out
another version of the opening motive. (see example 9)
Thiszmotive is carried by the contrabassoon in measures

72 through 75, with piano and brass accompanying.

 

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From measures 76 through 79 the upper strings carry
an augmented version of the Prayer theme. The tempo is
faster, beginning with measure 80, and the orchestration
builds up in measure 81 to fortissimo. Just as something
exciting is expected, the tempo decreases and the
orchestration thins out, leaving the solo flute playing

the Sorrow theme in the very unusual key of G-flat minor.

This solo passage is accompanied by the clarinets
and upper strings. The sound is very much like that of
the antiphonal division of a pipe organ when foundation

stops are speaking.

The Prayer theme is stated again by the strings
between measures 86 and 87. At measure 88 the meter changes
to 5/4, and the opening motive of the piece is presented

once more. Here the tempo retards.

At measure 89 the time is 4/4 and the tempo is again
fastens. = 88. The signature changes to one flat. The

strings begin playing, "Forte and quickly mezzo-forte",

 

 

 

 

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sustaining a chord in open fifths on E, and supplying
the third in the following measure, as follows:

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The Hope theme appears in diminution, as shown above.

The episode which runs from measures 89 through 9h, in
fact, is pervaded with a diminution of the Hope theme.
This leads to an altered statement, in the solo first
violin, of the Sorrow theme, with the first clarinet and
strings accompanying. (measure 95) Here the string
accompaniment is actually an embellished and compressed

Version of the Sorrow theme. The tempo is slow, the key is A-flat,

 

 

38

and the meter has changed to 12/8. The music now is very

ioal as follows:
In ' Ex. 13

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During measures 91 through 100 this theme is
broadened more when played by the clarinets and bassoon,

against the agitated and syncopated rhythm of the piano,

as follows 3 Ex. 11,,

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Sequential treatment of the compressed version of the

Sorrow theme continues, as the orchestration builds up,

through measure 106.

At measure 107 the tempo marking 1341: 52, and here
the orchestration thins out to solo oboe, clarinets,
first bassoon, and horn. The solo oboe states the
Sorrow theme to the accompaniment of the above-named
instruments. The same music illustrated in example 13

prevails. This statement ends at measure 110.

At measure 111 the indication is "Gradually Faster"
and "As Loud as Possible". Here the full orchestra plays,
including cymbals, little-used, hitherto. The Hope theme,
as illustrated in example 12, is the subject at hand.

It is played by the upper strings and woodwinds. During
measures 113 and 111+ sequential treatment is made, as
the tempo increases Just for these two measures. At

measure 115 a retardation occurs to preclude further

excitement .

At measure 116 the key signature changes to four

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sharps, the time changes to 4/#,J = 76. The solo viciin
carries now a new version of the Sorrow theme. This

theme has now a more jazz-like character, due to the
quicker notes and the tempo. It continues through measure
123, and is followed by a one-measure extension in the
accompaniment. The accompaniment is of the block,

arpeggiated chord variety, as follows:
Ex. 15

J

J=76 Plainh' :2]
W“ 7 §Y\ flag

    

”I"

At measure 125 the signature changes to two sharps,

3/h meter,J = 96. A retrograde version of the Sorrow
theme is stated by the solo first violin, against a
descending chromatic string accompaniment. This same

version of this theme is taken by solo oboe with woodwind

41

accompaniment between measures 133 through 140.
Sequential extension on the same theme is made through

measure 1h5. Here the woodwinds take the descending harmony

the strings carried above.

The key signature changes again in measure 146 to
two flats, to begin a nineteen-measure link. Between
measures 146 through 158 the piano is the solo instrument,
in effect. Amid an ostinato-type mumble from the basses,
and sporadic utterances from the high winds, the piano
continually executes ascending and descending chromatic
runs from three-line F to four-line F, in the right hand.
The left hand doubles the basses. The piano then Joins in
the block-chord extension made by the full orchestra

between measures 159 through 164.

At measure 165 the key signature changes to one
sharp, and the tempo quickens to 0’ = 80. Between measures
165 and 172 the Sorrow theme and Prayer theme are played

simultaneously, as follows:

See next page

 

 

 

"x“
NH.

A!
“I

1:2
Ex. 16

sorrow 2h

Sol‘ponlfccua __________ --__..--_-----.-.

PM?" ‘6?

 

 

At measure 173 the tempo slows toJ: 63, the key
signature changes to two flats, and full orchestra plays
"Pompously" and ”As loud as possible". From this point
until the end, all the themes of this work are co-mingled
here and there with one another. In measure 173 the
opening motive is pitted against the altered Hope theme.
This procedure runs through measure 18?. The lower
strings and woodwinds carry the former, while the upper
strings and woodwinds carry the latter. During this time
snatches of the Prayer theme are played, viz., measure

18"” thus‘ Ex. 16

 

‘11s
- flow"

9 MW
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a.

0

Lu, nu \\\\\

 

 

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at m N.
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at in“ :8
a,“ m Iii

 

 

43

In measure 189 the orchestration thins out,
leaving only the woodwinds playing the Prayer theme,
"Gradually softer". This further thins out in measure

192 to oboe and bassoon.

The muted strings commence again in measure 196, playing
a snatch of the Hope theme through measure 198. This is
followed by extremely soft playing by strings and woodwinds,
that alternate with piano to see, as it were, who would
sound the last chord. Finally the woodwinds have the last
word on a D dominant seventh, containing superimposed thirds,

as follows:
Ex. 17

Bars___. 189 zoo a0!

  

fizz :Mg:

1’?

 

31'!‘ 4,
1?...

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#4

Afro—American Symphony

This symphony is the second composition in the
trilogy comprising (1) Africa, (2) Afro-American
S m hon , and (3) Symphony in §_fling§. It was
composed in 1930, dedicated to Irving Schwerke, and
performed by the Rochester Philharmonic Orchestra in
Rochester in 1931 and 1932. Dr. Howard Hanson introduced

it in Berlin, Stuttgart, and Leipzig in 1933.

1‘From the date the symphony was accepted for publication,
and since its performance under Hans Lang and the New York
Philharmonic Orchestra it has had many performances.
Leopold Stokowski played its last movement in many
American cities on a nationwide tour with the Philadelphia
Orchestra, thus bringing it to the attention of many
American music lovers."

2
Still has this to say about the symphony: ”Twenty-two

years ago when I wrote the Afro-American Symphony, I did

 

1
Arvey, Verna, "William Grant Still", Studies 9: Contemporary
American Composers, J. Fischer and Bro., New York, 1939,

:9- 23

Afro-American S m hon , Record Jacket, AAO Records, Inc.
New York, 19 1

 

 

 

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45

so in the hOpe that I would achieve one principal
objective: to present in symphonic form a typically
American idiom. To that end, I devised an original

theme in the manner of the Blues and around it constructed
the symphony. Because this principal theme appears so
prominently in each of the four movements in various
forms, it may well be considered the basic unifying

factor in the work as a whole. After the symphony was
composed as an abstract work, it seemed advisable to
invent a program for it, so that audiences might be

able to understand the music better. I therefore prefaced
each movement with excerpts from the poems of Paul Laurence
Dunbar, explaining that the symphony was intended to
portray Colored Americans of the period following the

Civil War, the 'Sons of the 8011'

To the first movement I gave the title 'Longing', to
the second 'Sorrow', to the third 'Humor' (of the Folk,
rather than the dance-hall), and to the fourth 'Aspiration'.
The Afro-Americans who are depicted in the music have given
way to a new generation, but their idioms and their

ideals have become a part of America. In this they

#6

Poetry Related 39 the govements
I. Moderato assai

“All my life long twell de night has pas'
Let de wo'k come ez it will,

So dat I fin' you, my honey, at Last,
Somewhaih des ovah de hill".

II. Adagio

"It's moughty tiahsome layin' 'roun'
Dis sorrer-laden earfly groun'

An' oftentimes I thinks, thinks I
'twould be a sweet t'ing des to die

An' go 'long home."
III. Animato

"An' we'll shout ouah halleluyahs,
On dat mighty reck'nin' day"

IV. Lento, con resoluzione

"Be proud, my Race, in mind and soul.

Thy name is writ on Glory's scroll

In characters of fire.
High mid the clouds of Fam's bright sky

And truth shall lift them higher."

Paul Laurence Dunbar

47

take their greatest pride: the knowledge that they have

made a contribution and that it is acknowledged by their

countrymen.” .

 

-Instrumentation-

WOODWINDS: 3 Flutes, 2 Oboes, English Horn, 3 Clarinets
in B-flat, Bass Clarinet, and 2 Bassoons

BRASS: h Horns in F, 3 Trumpets in B-flat, 3 Tenor
Trombones, and Tuba f »

PERCUSSION:'Timpani, Vibraphone, Triangle, Wire Brush,
Small Cymbal, Cymbals, Snare Drum, and
Bass Drum

-—4

_ - ~

STRINGS Harp Celesta

48

Movement One

This movement is in A-flat Major, 4/4 time, and
marked, ”Moderato Assai”. It opens with a six-measure

introduction, played by the english horn, as follows:

Ex. 1

Etc

 

The blues-like effect here substantiates the title,
"Longing", of the movement. In measure 4, a typical
"blues" chord, played by the strings and timpani,
punctuates the end of the first phrase of the introduction.
It is a dominant ninth with a raised ninth, spelled

enharmonically, as follows:

 

 

 

 

 

 

 

 

 

49

The first theme is begun by solo trumpet at measure
7, after a wailing glissando from the bass clarinet.
After two measures of syncopated spurts of sound, first
by the upper winds, then by the horn, both on the verge
of speech, the trumpet repeats the first phrase, slightly
altered, of the first theme, as follows:

Ex. 3
[Motive 1] [Motive 2.

”I; [ejdlz'::{ma Pr:

 

Then, antecedent phrase ”b"
Ex. 4

ETC 0

 

Then, consequent phrase "c”
Ex. 5 .

/\

 

A

      

is

 

 

 

 

 

 

i.e.,

3'! in
1‘83.“

fi"!ui
"i‘. g

in”;
"avu

50

This theme conforms to the usual "blues" theme pattern,

i.e., (A) (B)
4+4 Measures 4 Measures

The foregoing music is repeated more or less intact,
except that the strings and woodwinds now play a consistent
quarter-note pattern of "blues" chords, chords containing

fluctuating major and minor thirds.

This repetition of the opening thematic material
continues through measure 30. A transition begins at
measure 31, with an allusion to the first theme. A fragment
of the first theme is here the subject of sequential treatment.
The tempo quickens, and excitement grows with the
cross-rhythm, chromaticism, and the addition of woodwinds,

timpani, and brasses.

At measure 41 the excitement lessens, as the tempo
slows down, and the strings play alone in descending
quartal harmony, finally reaching a fermato on an enharmonic
”D” amgmented ninth chord, with a lowered seventh, as follows:

Ex. 6

V1.1 13(%%
L giggi.

A“

 

 

 

51

Such a chord as the above is used by Still, without
regard to academic labelling. Here, and elsewhere, he
is interested solely in effecting a "blues" color,

wherein the third fluctuates between major and minor

quality.

The second theme is stated by the oboe between measures

45and 47, as follows: Ex. 7

nf(flehd‘)

 

After a retardation in tempo in measures 48 through,
49, an imperfect authentic cadence is followed by an
accelerated flourish by the first violins, which then
state an altered version of the second theme in recitativo
fashion. A rallentando in measure 53 is followed by an
extended announcement of the second theme by the flutes

in threespart harmony. The harp states a fragment of the

 

 

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. 52

second theme in measure 61 in G minor. This serves as
a transition, rather than the expected codetta. This

transition ends with a cymbal crash.

The development begins at measure 68, with an
announcement of the developmental material being made

[by the strings, as follows:

Ex. 8
H Etc.

 

This material is derived from the first theme.

A dynamic buildup is made as the timpani and brasses enter

between measures 70 and 73.

At measure 74 the development is in full swing:
motive "2'I of the first theme, now in dramatic guise,

is the seed of improvisation, as follows:

Ex. 9
.;

 

This motive is introduced by the strings, afterwhich a
dialogue between strings and horns proceeds, with

accompanying pizzicato sounds from the former, Staccato

 

 

 

 

 

 

 

5" the (

 

53

sounds from the clarinets, and constantly thickening
orchestration. This continues through measure 93.

The orchestration thins out at measure 94, leaving
strings and woodwinds to repeat the transition that led

to the development.

The recapitulation begins at measure 104, in which
there is a departure from conventional procedure:
(1) the second theme appears first, and (2) there is
a retransition before the final appearance of the first

theme in A-flat major in a new and rhythmic treatment.

The pianissimo A-flat major chord, with an added sixth,
at the end of the movement,is noteworthy for its effect.
It is played by the strings and lower winds. Its sound
is somber, due to the low register in which it speaks;

The highest note in the chord is small A-flat.

 

 

my
'1'.

54

Movement Two
(Adagio)
The instrumentation for this movement is the same
as that of the first, except that the celesta and woodblocks
are more prominent than other percussion instruments used.

a

The tonal center is F major, and the meter is 4/4.

A six-measure introduction cpens this movement, scored‘
entirely for strings and muffled timpani. The material
of this introduction is derived from the principal theme

of the first movement, as follows:

Ex. 10

 

The first theme of the present movement is introduced
by the oboe, accompanied by violas and celli divisi, and
flute obbligato, as follows:

Ex. 11

 

55

The lowapitched accompaniment played by the violas and
celli adds to the pathos imparted by the writing at this

point.

The first theme is restated by the violas between
measures 15 and 24. Here the orchestration is augmented
by the addition of the harp, trumpets, bassoons, and
bass clarinet. Some imitation is present. The mood is

serene c

lit measure 24 the gap between the first theme of this
movement and the second theme is bridged by four measures
of material taken from the introduction, and is used in
transitional fashion. The second theme is given to the
fluteeat the outset, and is derived from the first theme

of the first movement, as follows:
Ex. 12

 

 

 

 

 

 

 

 

 

 

 

 

 

$6

Thereafter, four-measure blocks of this same melody

appear, treated in devious ways - compartmentalized
This proceeds for thirty measures,

The

development, as it were.
and leads to a recapitulation 6f the first theme.

movement ends with a restatement of the fourdmeasure

introduction to the present movement.

 

 

 

 

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except

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57

Movement Three

(Scherzo)

The instrumentation is the same as in movement one,

except that the tenor banjo is added. The key is A-flat

major, the time is 4/4, animato,e|= 116.

The movement begins with a seven-measure introduction
in the E-flat area, derived from the main theme to follow. 8
It resembles in a general way the episodic material of

this movement, later to come, as follows:

Ex. 13

Etc.

 

\v’

The strings introduce the main theme at measure 7,
accompanied by the banjo, in a rhythm that one would hear
at a camp meeting during congregational singing. The

theme itself is a lively one, very much in the character of

a jubilant spiritual, as follows:

Ex. 14 Etc.

Animazo f

    

58

Interestingly, the horn accompaniment in measures
8 and 9 bears close resemblance to George Gershwin's

"I've_Got Rhythm", as follows:
Ex. 15

A A

:=-Mf

     

 

A

ETC.

.At measure 15 the second part of the main theme is

stated, emphasized by unison playing by the major part

of the orchestra, as follows: EX”. 16

 

This melody is almost a tonal translation of Dunbar's

lines which head the movement:

"An' we'll shout ouah halleluyahs
On day mighty reck'nin' day."
Still does not follow the usual pattern, scherzo-
trio-scherzo. He literally plays with his thematic
material, making a jest of it. This is consistent with

his idea of expressing Negro humor.

 

 

 

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we‘.

a.“

59

At measure 32 a transitional passage, based on the
introduction, is played in unison by lower woodwinds, brasses,
and lower strings. A gradual increase in intensity leads
to a fortissimo at measure 39. The tympani and suspended
cymbal make a big crash here - "tutta forza". A gradual

decrescendo follows, as the woodwinds and strings imitate

 

the brasses, using a motive from the main theme. Delicate
woodwinds, now wistful, now impudent; strings singing and
swinging the main melody; brasses sternly suggesting the
introduction motive, and all carried along by the relentless
“blues" rhythm. The harmony here flickers between major

and minor quality, sustaining a capricious flavor.

The, second part of the main theme comes in at measure
75 in the strings. The banjo is now out, the woodwinds
accompany here in broken octaves, very reminiscent of

"boogie woogie " bass .

The first theme is restated for the final time at
measure 86. The orchestra is full in size and volume, and

a transformation of the "blues" theme of the first movement

serves as an accompanying figure in the bass, as follows:

. 3X0, 17

*

etc.

 

 

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lav-J I

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60

This final statement of the main theme, surrounded by
thematic material from earlier movements, is so masterfully
connected to the coda that one hardly knows where the
latter begins.

It is likely that the coda comprises, however, the
last six measures of the movement, as this is where the
double basses and tuba carry a pedalpoint on A-flat.

The movement concludes on a sforzando A-flat major chord:

on the first half of the last beat - a typical Stillian

StrOke o

61

Movement Four
(Aspiration)

This movement opens in E major, 3/4 time, and is marked

"Lento con Risolutione". The instrumentation is the same

as that of movement three, except that the banjo is not

used, and the vibraphone, bells, and other percussion
instruments are added.

The main theme is stated at the outset in the strings,

accompanied by woodwinds and lower brasses, as follows:

Ex. 18

/"\

    

I 50110)":

\d ‘
This theme is repeated, extended, and after a slight
retardation in tempo, terminates at measure 28, with the
harp Playing an E-major chord, with an added sixth.
The second theme is introduced by the first flute and

oboe in measure 29, as follows:

See next page

 

 

The tonal center is now A minor, despite the suggestion

of A major by the three sharps in the signature. The
tempo is marked "Piu Mosso". The vibraphone is used very

effectively in sounding a chord just before fragments of

the theme are played. This statement of the theme is

completed at measure 36, where the final chord suggests
bitonality, as follows: (EL. 20

 

 

 

 

 

 

In measure 37 the key signature changes to one flat.
Ten measures of transitional material, similar in rhythm

to the introductory motives in movement one, follow in

rubato style. At measure 47 the direction is, "Cresc.

ed Accelerando Poco a Poco." Here the woodwinds and

strings state a motive very much like the introductory

 

 

 

 

5“:
'“fll

e

63

motive of movement two. At measure 51 the full

orchestra is playing, ”Piu Mosso", motives that are
rhythmically based on the introductory phrase of

movement one. The first and second violins are playing
triple _f_or_t_§_ trills on the note - D-flat, and one

expects development to follow. Instead, the full orchestra
suddenly drops out at measure 56, leaving the horns playing
alone for one measure. A retardation in tempo follows,
with strings and low woodwinds playing, the double bass

continuing an ostinato pattern it assumed at measure 47.

At measure 61 the bassoon, accompanied by the strings,
plays an altered version of the second theme for ten

measures , as follows :

Ex. 21

Etc.

 

The string accompaniment here is based on the main
theme of the first movement. A slight development of this
theme is continued through measure 88, during which time

the instrumentation is augmented, and changes in tempo and

<1inamics occur.

 

 

 

 

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64

A link runs from measure 88 through 99, based on the

:mcond theme. The section ends on an A-flat seventh

chord in the lower woodwinds.

At measure 100, marked, "Lento, con Risoluzione“, the
celli restate the main theme in singing style. At measure
115 the harp plays a counterpoint to this cello theme, and
the statement ends at measure 125 on a G-sharp minor

chord in first inversion.

The time signature changes to 6/8 at measure 126, the
tempo is marked "Vivace", and a development begins, using
the descending motive played by the bassoon in the opening

measure of this movement, as follows:

Ex. 22

 

 

 

Etc.

 

 

 

The first theme is hinted at here and there, and
treated in imitation. The orchestration thins out in
SPOts; full orchestra, however, is generally used from this
Pohu:to the end. The use of percussion instruments, such as

woodblocks, gong, and suspended cymbal, contributes to

 

 

 

'1

4‘-

fig.

*4 y

 

65

the excitement at hand. The horns begin to present the
first theme in fragmentation in measure 148, aided by

the trumpets later. The strings have been playing
pizzicato in spots, from measure 126 to this point.

The low brasses have had their share of the excitement,
playing' sforzandi in a percussive manner. Notable, too,

are the brilliant sixteenth-note passages in the cello

part.

A final statement of the main theme appears in measure
182, made by upper woodwinds and strings divisi. An
"Allargando" follows at measure 189. A gradual increase

hidynamics is made in measures 190 through 192.

The coda begins at measure 193, Maestoso with double
flgfig, during which a motive of the main theme of this
Imwement is stated repeatedly in the brasses. Varied
figuration on F-minor harmony is planted around this motive.
The upper strings play the last four notes of the second

theme of the movement, in dramatic repetition.

The movement ends on an F-minor chord, as follows:

 

 

 

 

 

 

Ex. 23
I
Full arch; 2%
A i 1, X
— VMDAI
_ —i_

 

 

 

.3
' m i

 

 

 

 

at

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t 1

3:5

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m:

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66

This sustained cymbal which concludes the symphony
gives a very exotic effect. Usually the audience begins
applauding before the dying sounds from this final cymbal

crash subside... But who could restrain from applauding

this great music?

The title 9 "Afro-American” is no misnomer for this
work. This symphony is greatly endowed with the Negrcid
resources which that segment of the American papulaticn
brought with them to the shores of this great country in 1619.
Each of the four movements is a tone poem on its individual
merit, depicting the emotions, moods, and aspirations of the

enslaved creatures whom Still had in mind as he so masterfully

composed .

 

 

 

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In-)

I

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1 :)

 

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67

Symphony in _G_ Minor

 

This work is the third of a trilogy that comprises
(1) Africa, (2) Afro-American Symphony; , and (3) Symphony
_i_n_ _G_ £1395. It was composed at the earnest request of
Dr. Leopold Stokowski, who introduced it with the
Philadelphia Orchestra in Philadelphia, Pennsylvania
in December of 1937. This work was played twice in
New York City a few days later under the subtitle:

“Song of a New Race".

Symphony in _G_ Minor was composed as abstract music,

with no thought of a program, such as was the case with the

Afro-American Symphony. Its creation occupied the composer

for more than a year.

The present work is dedicated to Isabel Morse Jones,
and the composer has written the following in reference to
the work: '1'This Symphony 3:2 g Ming; is related to my
Afro-American Smphony, being, in fact, a sort of extension
01‘ evolution of the latter. This relationship is
implied musically through the affinity of the principal

theme of the first movement of the Symphony in 9 Minor

 

 

 

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j a- r

,4

VA

68

to the principal theme of the fourth, or last movement

of the Afro-American Symphony.

”It may be said that the purpose of the Symphonyig,

 

Q Mingy_is to point musically to changes wrought in a

people through the progressive and transmuting spirit of
America. I prefer to think of it as an abstract piece of
music, but, for the benefit of those who like interpretations

of their music, I have written the following notes:

2

'The Afro-American Symphony represented the Negro of
days not far removed from the Civil War. The Symphony
ig_g_Minor represents the American colored man of today,
in so many instances a totally new individual, produced
through the fusion of White, Indian and Negro bloods.

The four movements in the Afro-American Symphony.
were subtitled 'Longing', 'Sorrow', 'Humor', and
'Aspiration'. In the Symphony in g Minor, longing has
progressed beyond a passive state and has been converted
into active effort; sorrow has given way to a more
philoSOphic attitude in which the individual has ceased
xntying himself, knowing that he can advance only through
a.desire for spiritual growth and by nobility of purpose;
religious fervor and the rough humor of the folk have been
replaced by a more mundane form of emotional release that
is more closely allied to that of other peoples; and
aspiration is now tempered with the desire to give to
tmmanity the best that African heritage has given them”.

——_

l

(Arvey, Verna, Studies of Contemporary American Composers
J. Fischer and Bro., New York, N.Y., 1938, p. 2

2
Ibid, p. 30

 

 

 

 

!:y
uh,

69

l/

Linton Martin wrote that "Song of a New Race" by the
ihgro composer, William Grant Still, was of absorbing
interest, unmistakably racial in thematic material and
rhythms, and triumphantly articulate in expression of moods,

ranging from the exuberance of jazz to brooding wistfulness".

This writer would like to add that the present work is
a clear example cf the distance Still can go in purely
melodic manner, without resort to many of the traditional
devices to fill out his canvass. It, moreover, illustrates
this great composer's true virtue - lyricism, a direct result

of his first love - opera.

 

yhartin, ILi—nto, "Song of a New Race",-'Philadelphia Inguirer'-
December 11, 1937

70

The instrumentation for the symphony follows:

WOODWINDS: 3 Flutes, 2 Oboes, English Horn, 3 Clarinets
in B-flat, Bass Clarinet, and Bassoons

BRASS: 4 Horns in F, 3 Trumpets in B-flat, 3 Tenor
Trombones, and Tuba

PERCUSSION: Timpani, Vibraphone, Triangle, Wire Brush,
Small Cymbal, Cymbals, Snare Drum, and Bass Drum

(STRINGS.- Harp - Celesta -

 

This work opens with two flats in the signature, 12/8
meter,qL =63. The principal theme to come is hinted at in -
ia.tenameasure introduction, the Opening three measures of

which follow: _Ex' 1

F1.

510")! J: = 63

 

Hm.

Eng. Hm. MP Emmy

PP Sn “My

 

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71

At measure 5 the trumpets and trombones enter, playing
the melody the solo english horn carried in measure 2.
Here the occasional parallel harmony in the brasses produces

a very martial effect, as follows:
Ex. 2

In/ Broadly.

 

This martial flavor is enriched by the open fifths
uttered by the basses and bassoons in measure 5. After the
flute motive of measure 3 is tossed about between strings
and woodwinds, punctuated in measure 7 by the timpani,
the principal theme is announced by the oboes and

clarinets in G minor, beginning at measure 11, as follows:

Next Page

72

Ex. 3

We. 6. Cd“

  

“Lam.-."----------_----- -_ -----_--.--.-_-

 

 

After one measure of bridging, mainly by the woodwinds,
during which the flute motive is played, the principal
theme continues in the oboes and clarinets, with similar

harmony in the strings as before, through measure 16, thus:

Ex._ 1+

 

’—

 

->
the 3

 

 

73

After some more bridging, based on the flute motive,

the principal theme is restated by the strings, forte,

 

"In Singing Style". Here the bass clarinet doubles the
basses, the bassoons double the cellos, and the violas double

the first violins:

Ex. 5

M/ In :hgtlng “313

 

This statement ends at measure 26, after which extension
is made, as the orchestration thickens. At measure 33 the
percussion instruments contribute to the buildup in instrumentation,

as follo ws: Ex. 6

 

74

The orchestration thins out considerably, beginning
with measure 37, Just before the harp enters to accompany
the fragment of the principal theme, played now by the bass
clarinet and bassoons. The principal theme is restated,
in part, by strings between measures h3-h9. It is continued

by the horns, bassoons, and cellos through measure 58.

3

The english horn plays an altered version of the
introduction to’the movement} This serves as a transition

that leads to the second subject in G major, as follows:
Ex. 7

a Zmlefashr A string:

    
   

 

will expression ck. _J. J,

1'» i I f 'r‘ U
It is a typical Stillian melody - pentatonic, folksong-
like, and in the cast of a spiritual melody. The contour is
balanced by an upward swing, followed by a downward one.
A."bluesy" tinge is present, due to the lowered third ( Bb)

in the second measure of the above example. This statement

 

 

 

l
5?"!
lim-

I

if."

Iv}:
U

.“
. -
NW

“’
I"

75

ends at measure 70. At measure 71 a transitional section
begins that makes use of a fragment of the second subject,
the galloping motive of measure 3 of the introduction,

and increased instrumentation. Notable is the use of the
block chords by the trumpets, in the same manner as they
previously appeared. Now, however, they play this against
a new fanfare motive in the horn, as follows:

Ex. 8

Hrn . enfare. met We

 

A restatement of the second subject follows this
transition, beginning at measure 79 in the strings. The
orchestra gradually thins out to woodwinds and strings at

measure 81. This modified restatement continues through

measure 88 .

At measure 89 the tempo accelerates, and here excitement
reigns, as the high flutes Join with the clarinets in
abbreviated trills, against a fragment of the principal

theme, now played by horns and bassoons. Hocketing is done

 

 

IMO

Ufl'n
‘ l-
iUIv

 

76

during this time between the strings and woodwinds. This

codetta merges into the development section imperceptibly.

The development begins in the area of measure 90. The
signature is now two flats. The germ for development is a
fragment of the english horn solo, cited above in the
introduction of the movement. The following typifies the

prevailing writing at this point:

Ex. 9

CelIi, Basses

    

, ,T

The instrumentation suddenly thins out at measure 95,
and the signature changes to two sharps. Here the horns
Play a syncopated fanfare against the strings, that are now
Playing a new version of the principal theme, as follows:
Ex. 10

8va.--_--------- - .........

WW1, Strings, Brunet

Vc., .

M f

 

.1
I
II

E

 

 

 

 

3::

IVs

w

m‘.

'3‘

"8

‘I
'c

77

This theme is stated by the lower brasses between
measures 99 and 102. At measure 103 the instrumentation
thins out, the signature changes to three sharps, and a a
version of the principal theme is stated by solo flute,
against persistent utterances (0D 0‘7') from the second
and third flutes, clarinets, and lower winds. Here

the harp plays an appealing pedal tone "E" for four measures.

A fragmented restatement of the principal theme in the
A major area is played by the lower brasses at measure 116. .
The strings hocket while the upper winds trill. At measure
109 the three sharps are dropped from the signature, and the
principal theme is fragmented by the lower instruments of
each choir. The drums enter here to give syncopated punches
to the hocketing that attends the prevailing thematic

fragmentation, as follows:

 

 

 

 

 

 

 

 

 

 

 

Ex. 11
3. > \;
‘l %
L...
D". ’ 7 uh r 7 Op 7 Pl.
Though i ‘ 2 § 2 )
Fr: M‘Ltj’? 1t?- - ”1"
r j 5‘

 

 

 

 

 

 

 

 

 

 

 

 

i}:-
“In

 

 

9‘“
:.:'

78

The orchestration thickens at measure 114, and the
thematic fragment is played without syncopation in the

C minor area through measure 119, as follows:

Ex. 12

z: , Bras: e:

I

[Va LVI
Bane: if I U?

The signature changes to one sharp at measure 120,

 

 

and the tempo is marked "Slower". The second subject is
stated, basically intact. The use of the first horn and
the replacement of the piccolo with flute are the basic

alterations in instrumentation.

This statement concludes at measure 128. At measure

129 the signature changes to two flats, the tempo is
!
marked ”Tempo one'NI-= 63. The recapitulation begins here

with trombones stating the principal theme. This theme is

‘An
0

4h

 

{5.

H' r
VIE:

 

1a-
‘1)

(I)

J
n";
'I

 

79

now accompanied by altered fragments gleaned from itself
in the original tonality. This statement remains in the
trombones through measure 134. It is taken up by the first
and second violins at measure 135. The brasses rest here
for three measures. At measure 138 they re-enter as the
music broadens, the next measure bringing in harp and per-

cussion instruments .

The orchestration gradually builds up, so that at
measure 141 the full orchestra is playing. This ends the
final statement of the principal theme. The coda begins
at measure 142. It is based on the principal theme, using
the last two notes of its first sentence. The essential
idea of the coda is illustrated in the following:

Ex. 13

     

‘ flute Ir :3 I

 

rtnrmi .1 hi t Enable! Elihu .13

 

 

 

80

This movement ends on the first eight note of the
fourth beat of measure 146, in G minor, FFF, after a
"Retard and Increase" indication in measure 145,

as follows:

Ex. 14

 

 

& FLIL .* fi111|hl >5“;th

\ \.\d\..\ [11

 

.‘xk \i\<\\

 

81

Movement Two

This movement is in G major, 4/4 meter, marked
"Slow and deeply Expressive",J = 52. The instrumentation

is the same as in the preceding movement.

The principal theme is stated from the outset, as follows:

Ex. 15
$1 only and

   
       

The solo oboe continues this theme, beginning at measure

9 . as follows:
Ex. 16

String:

- rié.

 

 

 

 

r”:
I'N“

’2“!
we"

"1‘

82

Here the harmony in the woodwinds and strings is quartal,

and some of the clusters approximate the so-called "Mystic

Chord" of Scriabin.

A part of the first sentence of the principal theme is
treated in sequential expansion between measures 17-28.
Here the orchestration thickens, the full orchestra playing

very loudly in measures 21 and 22.

The principal theme is restated at measure 29. Here

the strings are in the foreground, as two solo violins

. stand in relief. The harp plays intermittently. The

supporting strings now play an interesting counterpoint.

This statement ends at measure 36. The following is typical

or the prevailing writing:

Ex. 17

Ni”: arr: ion

gracefully , 5

 

 

 

 

(
‘e

3K,

41‘
"'e

33

The second theme is stated in the strings in the A major

area at measure 42, as follows:
. Ex. 18

 

This statement continues through measure 56. ' The orchestration
thickens gradually during this time, with the addition of

woodwinds .

The full orchestra plays at measure 67, as the tempo
quickens to '0' = 120. Here a development ensues which makes
use, presently, of the quartal harmony of the principal theme,

cited above .

At measure 73 the solo oboe plays the second sentence
of the principal theme, slightly altered, as violas and
cellos accompany in their darker registers. At measure 76
the thematic fragment, cited in the principal-theme example,
18 stated by unison woodwinds and strings, with the brasses

\mins 121 a sudden buildup in measure 74, as follows:

See next page

84

Ex. 19

 

Transitional material leads to a restatement of the
'principal theme in G minor at measure 94. The tempo is
slower, and the full orchestra is playing fortissimo.
{This theme is now stated by brasses and woodwinds, with

strings playing a new accompaniment, as follows:
'Ex. 20

 

85

The signature changes to two flats at measure 102,
and an eighteen-measure link, based on the second theme,

leads to a restatement of the principal themein the

strings. This statement differs from the initial announce-

_ment of the principal theme, because of the exclusive use

here of strings. The concluding six measures comprise the

coda. The present movement is connected to movement three

‘without a pause. The last two measures of the present

movement follow:

Ex. 21

Bus -..------;;-‘--'----,- , ' fl

     

If Broadly

accent

1|
fl
‘1
'1!!!

 

4| FILW~ deHiAllle WIS

 

 

86

Movement Three

This movement is in 4/4 time, marked “Moderately

fast",J = 80, and has two sharps in the signature.

After a three-measure introduction, the first theme

is announced by the piccolo and flute, as follows:

Ex. 22

Serial: I 4"“ Etta

 

The horns enter at measure 20 to support the
accompaniment the strings have carried to this point,

as follows:
Ex. 23

 

dtccl. steamy

8?

This statement of the first theme continues through
measure 35.

A five-measure link, based on the first theme, begins

at measure 36. At measure 40 the signature changes to

The english horn states the second theme in the
Here the

one flat.
D minor area, with crisp harp accompaniment.

cello doubles the english horn, and the horns and tuba play

a harmony in consonance with the harp part, as follows:
Ex. 24

 

This statement continues, with the orchestration

continually building up to virtually full force, between

measures 47 and 54.
A third theme is stated in measure 82 by the strings,

against staccato brass accompaniment, as follows:

Ex. 25

      

B.."‘, E V0

88

Here the timpani, suspended cymbals and drums provide
march-like accompaniment to the statement, as follows:

Ex. 26

«than syn. * I
1 n i l
I g ! 1' I E itu
f I. I

L
V U

 

 

This same theme is enriched by new harmony in the

woodwinds and strings at measure 131, as follows:

Ex. 27

 

rl‘his statement ends at measure 135. A five-measure
link between measures 136 and 140 leads to a restatement
0f the main theme by the woodwinds and strings. This final
statement is proclaimed by the full orchestra. The harp-
and percussion-passage that follows illustrates essentially

the character of the prevailing accompaniment:

See next page

89

Ex. 28

 

The coda runs from measures 156 through 164. During
the concluding four measures the full orchestra plays

fortissimo, ending on a D major chord, "As Loud as Possible".

An excerpt of the principal theme follows:

Ex. 29

Stein :
Puz.

 

90

The following example illustrates the four concluding
measures of this movement, with Still at the apex of

dramatic expression:

Ex. 30

3.: ha! a: fossil);
h

 

 

 

 

A ET?“ 1 rile \ a

91

Movement Four

This movement is in 4/4 meter, G minor, and is
marked "Moderately Slow", o‘= Cir. 66. The straight muted
trumpets play the following phrase, after a one-beat

flourish from the strings:

Ex. 31

 

The strings re-enter to announce the principal theme

in measure 4, as follows:

Ex. 32

 

92

The solo english horn continues this statement at

measure 6, with strings and flutes accompanying, as follows:

Ex. 33

 

The harp enters at measure 10 to accompany the bassoons

and violas, as they continue the statement of the principal

theme , as follows:

Ex. 34

    

Her,

The trumpets play the figure previously carried by solo

english horn between measures 14 and 16. The initial statement

of this theme is concluded at measure 30, after a slight

increase in orchestration and dynamic level.

The strings introduce the second theme at measure 31,
as follows:

See next page

93

Ex. 35

M. 511:0“th Ana eyrcm'ue

<17

 

This theme is stated in G minor at first, and is
extended by sequential treatment through measure 51.
The following excerpt typifies the prevailing treatment,

as follows:

Ex. 36

  
      
     

-' ----- -.—-_--r ‘I_I_ll'-“-
Ali-'I-- ---Ilf—-----Imll ”II-“F-I-
l.1-'—-"-I'fl"-—M-MII'III-mll“ .L-‘l—Tl

    
      
   
 

 

The orchestration builds up during this extension of

thematic material. A two-measure link, based on the
principal theme, leads to a partial restatement of the
second. subject, slightly altered, in the original tonal
area. This is followed by a five-measure link, based on .

motive "a” of the principal theme.

94

The signature changes to four sharps at measure 62.

The tempo quickens here to = Cir 120, and the development

takes off from a combination of motive "a”, pitted against

an augmented and rewritten version of itself. The woodwinds

and strings play here, as follows:
Ex. 37

>

 

This motivic combination is developed through measure 92.

The orchestration remains considerably light to this point.

At measure 93 the tempo slows down toJ = Cir. 66.

The signature changes to two sharps, and the second subject

95

is stated by the strings in the f-sharp minor area, with

new harmony, as follows: Ex.- .33.

J: cf:- 66

 
 
  

 

 
 

"f

 
  
 

Ir’

  

?
l

 

l P

This statement concludes at measure 95. At measure
96 the signature changes to two flats, and the "b" motive

of the principal theme begins the recapitulation.

At measure 99 the full orchestra is playing. At measure
112 the brasses and lower woodwinds carry motive "b" 3222.-
At measure 116 this motive is played by the brasses against
the varied version of the principal theme cited above, as

follows :

Ex. 39

 

96

This final and forceful statement ends at measure 12?.

At measure 128 the coda begins in very much the same fashion
as did the movement. However, the woodwinds double the

strings.

There is a gradual retardation during the last three
measures. The full orchestra plays FFF during the last
two, ending on a G minor triad at measure l35, the woodwinds,
brasses, and percussion dropping out after pounding out the
first beat, leaving the three solo violins to sustain a
G minor triad, which fades into nothingness - "With humble

thanks to God, the Source of Inspiration", as follows:
Ex. 40 ‘

.. {Hid}

   

.‘fipf

 

97

In,Memoriam

(The Colored Soldiers Who Died for Democracy)

lg,Memoriam is an excellent example of a recognizably
racial, yet definitely original work of Still. The themes
are his own creation, despite the fact that they bear

close resemblance to Negro folk melodies.

In 1943 the League of Composers commissioned sixteen
American composers to write on patriotic themes. Still
was among the chosen, and ln,Memoriam was his choice for
a subject. The works of these sixteen composers were
given first performances by theNew York Philharmonic
Orchestra, under the direction of Artur Rcdzinski, both
over the radio and in concert, and later recorded for

Government distribution abroad.

The New York Times for October 10, 1943 carried
ifliliam Grant Still's statement regarding the inspiration
Ibr’his composition, which seems.tc have attracted more

attention than any of the others:

1

"When you suggested that I compose
something patriotic, there immediately flashed through my
nund the press release which announced that the first American

L

1

Matthews, Miriam, ”William Grant Still"
Phylon, Second Quarter, 1951
Atlanta University Press, Ga.

.1

i

 

 
 

 

1h W.“
of cm
mm n
:h: in

“war

IVE

to: be
those a
they r:

'before'

0 r-)
1,4/
I

98

soldier to be killed in World War II was a Negro soldier.
Then my thoughts turned to the colored soldiers all over
the world, fighting under our flag and under the flags
of countries allied with us. Our civilization has

known no greater patriotism, no greater loyalty than
that shown by the colored men who fight and die for
democracy. Those who return will, I hope, come back

to a better world. I also hope that our tribute to
those who die will be to make the democracy for which

they fought greater and broader than it has ever been
before".

A short time after the radio performance of _I__r; Memoriam“

by George Szell and the Boston Symphony Orchestra in

January, 1945, the composer received the following
communication from Syracuse:

2
" I wish I might convey to you the thrilling grati-

fication which I felt in the thought that an American

had produced so fine a composition. We have looked
into the past so long for the finest and best that it
is a startling experience to find that the present has

so much to offer."

 

Ibid, p. 26

he inst

 

356311103: 2

 

2
33.33: 2'
FBJSSSION: Tr
SEEING

 

Straight

{3110111118 fan:

 

99

The instrumentation for In Memoriam follows:

 

WOODWINDS: 2 Flutes, 2 Clarinets in B-flat, English Horn,
and 2 Bassoons

BRASS: 2 Home in F, 3 Trumpets in B-flat, and
2 Trombones

PERCUSSION: Timpani and Snaredrums

STRI was ' Harp . _

 

Straight muted trumpets open the piece, playing the

V fol]. owing fanfare: Ex. 1

Shots“ Mu}: '1 = 69

    

The english horn announces the main theme at measure

7: as follows: Ex. 2

L Hm.
G.

We.
Qt.

 

 

“his arm

 

The lower
min them
this them

This Harv

t mea
repeated,
retards E

an alter:

Us.
61m.

Fig.

[Fl-Pf LfifH—

 

The 3
theme. 1

L rEtard

100

This announcement comes after a retardation at measure 6.

The lower strings accompany this initial statement of the
main theme. Noteworthy is the striking similarity between

this theme and the spiritual, "Sinner Please Don't Let
This Harvest Pass”.

At measure 15 the fanfare that opened the piece is

relocated, now by the brasses and woodwinds. The tempo

re1:ards gradually, and at measure 21 the woodwinds play

an altered version of the main theme, as follows:
Ex. 3

n..-

Hard.

Etc.

Fag-

 

The english horn plays a solo version of this same

thesme, inverted, with harp and lower strings accompanying.

A IPetardation marks the end of this statement.

 

 

 

 

The 171
fanfare thq
trumpets, 4'
who died.
which whisi

 

 

The 81
"1d lower

repetitSJe

101

The tempo quickens slightly at measure 29, and the
fanfare that opened the piece is again played by the
trumpets, perhaps heralding the triumphant fate of those
who died. Notable, however, is the timpani accompaniment,
which whispers a military cadence, as follows:

Ex. 4

WW
Rm» Wow—4M—

PP Etc.
The second theme is announced by clarinets, horns,
and lower strings, at measure 33. The flutes carry a

repetitive fanfare figure here, as follows:

Ex. 5

9m
Buy
‘a

 

At measure 42 the orchestration thickens, and the
fanfare that has hitherto recurred is once more present.
It is stated emphatically now by the woodwinds, (excluding
the flutes and bassoons) and all the brasses, against a

syncOpated counterpoint in the flutes and violins, as

follows:
See next page

 

 

C"

fit

"if
Viv

 

 

 

 

 

 

The s
“Mable b

 

 

[@257

102

Ex. 6

 

The snaredrum enters at measure 45, aiding in a
dramatic buildup to a fortissimo, which is reached in
measure 49. A C minor 7th chord climaxes the eulogy,

as follows:
Ex. 7

 

 

'mJ

 

 

The -
MWmn
retards

new:

hi

it.

.1 Tim

Ml.

 

(Tit! .

the ma

3m.

We
Via.

103

The second theme is restated by upper winds and strings
loetween measures 50 and 60. At measure 60 the tempo
retards, and a restatement of the main theme is made by

'tlie strings, later joined by tn? english horn, as follows:
Ex.

A

V1151
Vlufi
V13.

cc“.

 

The introductory fanfare serves as counterpoint to

tile main theme at measure 74, as follows:
Ex. 9

Hens.

V1: .
Vie.

 

it mea

 

I
the secon;

counter t
|

The co

 

one ques

the Negro

“he

 

“in the:

fanfare,

Hi):

in“

 

 

104

At measure 78 the bassoon utters an altered version of
the second theme, so that now the fanfare and second theme

counter the main theme. This continues for four measures.

The coda commences at measure 85. It is constructed
on a question-response plan. Such a plan is idiomatic of

the Negro spiritual, for example:

Question Response
”Have you got good ' "Certain'y Lenin
religion?" .
etc. .

The question in the code at hand is a fragment of the
main theme. The answer is based on the introductory

fanfare, as follows: Ex. 10

9

  
 
 
 

an“.

e/ 8..ng

‘ Brat:

./

 

 

 

 

Tens‘
thickens,

climax the

 

at measure
the end Oil

on the Seq

 

 

 

105

Tension increases gradually as the orchestration
thickens, and at measure 91 the snaredrum anticipates the
climax that finally comes with the entry of the timpani
at measure 94. Here the tempo steadily retards until
the end of the piece. The final B-flat minor chord is
on the second half of the third beat, as follows:

Ex. 11

Full
éOHi.

 

 

 

 

 

 

 

 

his
friend, it
cemented
0f the W:

is appro;

The

Town:

 

106

S hon Number Four
(Autochthoncusi

This unpublished work of Still is dedicated to his

friend, Maurice Kessler. The Oklahoma Symphony Orchestra,

condxxcted by Victor Alessandro, gave the premiere performance

of ttxe work in the spring of 1951. The performance time

is aqpproximately 27 minutes.

The instrumentation is as follows:

WOODW INDS :

BRAEHSEBd

PERCUSSION:

STRINCHS

3 Flutes (3rd interchangeable with Piccolo)

2 Oboes, English Horn, 2 Clarinets in B-flat,
Bass Clarinet in B-flat, 2 Bassoons, and
Contra Bassoon (interchangeable with 2nd)

4 Horns in F, 3 Trumpets in.B-flat,
3 Trombones, and Tuba

Timpani, Glockenspiel, Resonator Bell in G,
Triangle, Wire Brush, Small 0 bal (suspended)
Gong, Large Cymbal (suspended , Cymbals,

Small Snare Drum, and Military Drum

Harp V Celesta

 

 

 

This
L126. '
introductf
loomincis

a miii‘ie

5533;.

10?

Movement One

This movement is in E minor, and marked, "Moderately",
O‘= 126. The time signature is 4/4. An eighteen-measure
introduction opens the movement. Here the strings,
woodwinds, and brasses state a poignant theme which is

a modified version of the second subject to come, as follows:

Ex. 1

 
  

Kin-_-—I-—--I----I—__I"I--n‘l
1:1mmI-n-nu-mfll I 'I'JI'

hf Bros!!! ' t ' i H

 
   

At measure 9 the main theme enters in the first violins

in D major, as follows:

Ex. 2

 

 

 

 

 

The see
played by

Polychordi

T

 

Te

.b
108

The second subject enters at measure 25 in D minor,
played by muted trumpets with string accompaniment.

Polyohords are employed, as follows:
“lEx‘o 3

H

 

 

 

 

 

 

 

 

 

'nTtl -

 

Odh
Blue:

 

 

This statement of the second subject ends at measure
31. At measure 33 the strings make a restatement of this
subject in G minor, and from this point through measure
56, extension is made. The orchestration gradually
thickens, and at measure 49 full orchestra plays a version
of this subject fortissimo. The orchestration thins out to

. mezzo forte, afterwards, and the codetta begins, featuring

the clarinet and oboe as solo instruments, playing as follows:
7 ‘EX. ’4’

 
   

a;

i iodi
the strir.
sequentia
and to a

subject b

 

The: ‘

-LLUI

Tutti

 

Fifi-J

 

 

109

A modified version of the main theme is stated by
the strings in the original key at measure 63, but
sequential extension soon leads to a change of tonal center,
and to a statement of a varied version of the second

subject by brasses at measure 75. as follows:

4 Ex. 5
s.

 

The development is now at hand, the above version of
the second subject being the topic of exciting discussion;
At measure 136 the meter changes from #/# for one measure,

then the change recurs twice.

The woodwinds open a link at measure 1#3 that runs

through measure 146, based still on the second subject.

 

The re:
memes
the main
accompany ‘
notes thrc
min then

The orche

 

110

The recapitulation begins at measure 14? in the
woodwinds, the clarinet doubling the flute in playing
the main theme in D Major. The lower strings divisi
accompany in a consistent pattern of staccato eighth
notes through the completion of this statement of the
main theme. A restatement follows in the strings divisi.

The orchestration thickens gradually in the meantime.

The coda begins at measure 186, and runs through the
final measure - 193. During this time the brasses state

a dramatic version of the main theme, as follows:

Ex. 6

The;

Thus.
Tda

 

 

 

 

The 2
half or t?

 

|
chord, magi

 

”Slowly" .
appears ff
Pee melee
mm mm:

a 3mm:

“at

 

111

The last chord of this mOVement comes on the first
half of the fourth beat of measure 193. It is a D major

chord, marked fortissimo.

 

Movement Two

This movement is in G minor, h/h time, and is marked
"Slowly", J = 60. An introduction of eight measures
appears first, played by muted strings and woodwinds.

The melody here is derived from the main theme of the
first movement. It is lyrical, and has the character of

a spiritual, as follows:

Ex. 7

 

F1;
Oboe

.Bsn.

 

 

Theo

3685136

 

 

zeasuz

M

112

The oboe begins the announcement of the main theme at

measure 9, with string and horn accompaniment, as follows:

Ex. 8

ob!
V13.

Vs.

 

The above theme is stated in different guises between

measures 19 and 39, as follows:

 

 

 

 

Ex. 9
I E . ii . . I i L i n F, '5‘;- m
71-1 WHEWL—Ibzfit‘ifl:
l h.’ 1' l I I 4‘
In 'I' V l ' V-' f y nu
1);“ Egg-'25:,» L310 fl. an) do:

    

Oboe, Idler

The me

over a brj‘l

 

kt mes

ejeic‘eens i

 

 

is Played

Strings,

‘ 0f the se(

 

 

7115]

113

The introduction is restated in G minor in the woodwinds

over a brief organpoint, played by the celesta at measure #0.

At measure 144 the strings remove their mutes, the tempo
quickens to 0’ = 104, and a forecast of the second subject
is played martially by the trombones over exciting tremolo

strings. This transition leads to a complete statement

of the second subject in D minor by the strings, as follows:
‘Ex. 10

\na
Va .
8d“ a:

 

The above is obviously a variation of the main theme of
the first movement. The orchestration begins to thicken
forthwith, and development ensues. This developmentsrunss

through measure 89.

 

 

A two
theue be
best us a F
between
min the
rounds 01

0f the 11

 

 

is used J

‘ Tbn.
~ Tuba .

8mm
8:11

11“

A two-measure link leads to the recapitulation, the main
theme being played by solo flute in G minor. The latter
begins at measure 92. There is the recurring dialogue
between the woodwinds and strings. After repeating the
main theme of this movement, the coda at measure 113
rounds off the movement, playing the first four notes

of the introduction in augmentation. The resonator bell

is used very effectively here, as follows:
Ex. 11

 

The movement ends with the second horn sounding small
"G", the cellos sounding great "G", and the basses sounding

contragreat "G?,softly.

Thih
"u'ith a t
tutmbuc‘

mum

uu. E

- |
huh.

the main

 

 

300031;)“

 

115

Movement Three

This movement is in G major, 4/4 time, and marked
"With a Graceful Lilt",uJ = 160. After a four-measure
introduction which features the military drum and

woodwinds, as follows, Ex. 12‘
WWI

 

 

      

 

     

a 'f’fisu * ' {'2‘
u11.nmJJ.'J a: ”V. 7.

the main theme enters in measure 5 in the upper woodwinds,
accompanied by strings, as follows:

Ex. 13

8w.-------.------- ---__......... -.

 

 

 

 

A tra.”1
second 5:

35 fallo

me:
i

116

Some of the strings are playing pizzicato, others over
the fingerboard, in the above example. At measure 25
the main theme is restated by the strings with brass

accompaniment.

A transition, featuring staccato brass.leads to the
second subject, which enters at measure 53 in the woodwinds,p

as follows: _ Ex. 14

The:

Thu.
Tube

 

7 y, A

This is a variant of the main theme of the first movement.
At measure 61 this theme is repeated and extended through
slight development to measure 86. At measure 86 an
eight-measure transition begins that leads to a restatement
of the main theme by the strings. At measure 110 a coda
begins, featuring solo english horn, which is followed by
other woodwinds that each play a motive of the introduction

of the present movement.

 

In met
the sent
for some

as follo'

 

 

The f3

 

score:

 

117

In measure 121, the last measure of the movement,
the strings play area, after having played pizzicato
for some time. The movement ends on a G major chord,

as follows:

,Ex. 15

Thbfi

 

The following inscription is found on page 38 of the

score: * .
"No. 33 skipped through an oversight. Some day

in some way I hope to do some thing correctly."

leehearsal number

 

 

 

 

Th1
'Sloeuiy
from the
first vi
a nether|
componene
This In:
rhythm a1

uelody , I

Lam

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[NJ]

The
‘Dod’b’ind;

“er the

118

Movement Four

This movement is in D major, 4/h time, and is marked
”Slowly and Reverently", ol= 66. The main theme is stated
from the very opening measure through measure 8 in the
first violins, doubled by the cellos. This theme has
a rather romantic quality, perhaps because of the way its
component motives seem to relate themselves to each other.
This lyrical quality is also produced by the simplicity of
rhythm and the predominance of conjunct motion in the

melody, as follows:

Ex. 16

 

The main theme is repeated in varied version by the
woodwinds, beginning at measure 9. Extension is made

after this repetition through measure 28.

 

 

 

The
to as
at ueasu‘

through

 

strings,
flute, o
steteuuen
102% Ste
loser b]

little 1

ueasure

Th

“We:
the Set

EEaSur

3'4.

Che,

119

The tempo quickens at measure 29, and suddenly retards
to tempo rimo, the music increasing in volume in the process
at measure 31. After another retardation in measures 33
through 3“, the main theme is repeated at measure 35 by the
strings, accompanied by bass clarinet and bassoon, the
flute, oboe, clarinet, and horn joining later. This
statement continues through measure 50, after which,
more statements based on the main theme are made by the
lower brasses. A sustained D major chord concludes this
little episode at measure 61 through the first beat of

measure 63.

The orchestration thickens at measure 61, the tempo
quickens to 0‘: 120, and a four-measure link introduces
the second subject, which enters in the woodwinds at

measure 67, as follows:

Ex. 17

P15.

Clan.

 

120

The above quoted theme is derived from the fifth,
sixth, and seventh measures of the second subject of the
first movement. At measure 75 a varied version of the
first theme of the first movement is stated by the
strings. This leads to a development of the first
theme of the present movement, which appears in the horns
and woodwinds at measure 85, and in the first violin
between measures 93 and96. In the latter case, this
main theme combines with a modified version of the main
theme of the second movement. This combination of themes
serves as the basis for development through measure

122, as follows:
Ex. 18.

//'_‘\

 

V1.1

VLII
\na.

. C1113.
Bane:

 

 

 

bust

 

betueen
the not
:eesures
later 3:
theme.

of the ;

121

An eight-measure link leads to the recapitulation
between measures 123 and 130. Here the strings present
the main theme in D major, accompanied by woodwinds,
measures 131 through 138. At measure 138 the woodwinds,
later joined by the strings and celesta, state the main
theme. At measure 145 the strings again repeat a portion
of the main theme, followed by a dialogue between strings
and woodwinds on a figure of this theme. Here the tempo

retards and accelerates freely.

At measure 150 a four-measure link leads, with a
reatardation in tempo, to the original tempo, "With Increa-
sing Fervor". The strings divisi state a fragment of the
main.theme and extend it through sequential treatment.
Within.six measures the indications to accelerate and
suddenly retard greatly are found. Of course, this is
ta buildup to a fortissimo. A restatement of the main theme
is madezby the first violins and violas at measure 164.

From this point onward, restatements occur in dialogue

 

 

 

 

merge:

 

1“ Ms “
travel“

has

”he tuo

 

versionJ

122

arrangement between the various choirs of the orchestra

through measure 191, as the orchestration thickens.

The tempo accelerates very gradually at measure 192.
The two themes of this movement are combined in modified

versions in a sixteen-measure coda, as follows:
Ex..19

(mus)

    

Brass

‘

The brasses are prominent for a while, adequately supported
by the tuba. The chimes, harp, and celesta lend support
here and there. Four measures from the end, the strings
begin a tremolo that continues through the last measure
of the movement. The symphony ends on the first half of the

third beat of measure 207 on a fortissimo D major chord.

The following words are inscribed at the bottom of the
final page: "Wigh Humble Thanks to God, the Source of

Inspiration."

123

22.Youi_America

This composition was written in honor of the
Sesquicentennial Celebrations of the United States
Military Academy, West Point, New York. It was
premiered under Still's direction on February 17, 1952,
at which time it received enthusiatic reception.

In the words of the composer, fiMusically speaking,
it is a development of a single theme, energetic at

the beginning and progressing to a majestic, chorale-

like finale, pointing to a glorious destiny."

:2 You, America won a Freedoms Foundation Award

in 1952.

 

1
Program Notes, Musical Score, Southern Music Publishing
Company, Inc., New York, N.Y., 1956

124

‘T9 Yog, America employs the following instrumentation:

WOODWINDS:

BBASSES:

STRINGS:

1 Piccolo, 2 Flutes, 2 Oboes, 1 English Horn,
4 B-flat Clarinets, 1 E-flat Clarinet

1 Alto Clarinet, 1 Bass Clarinet,

1 Soprano Saxophone, 1 Alto Saxophone,

1 Tenor Saxophone, 1 Baritone Saxophone, and
2 Bassoons .

4 Horns in F, 4 B-flat Cornets, 3 B-flat
Trumpets, 3 Trombones, and l Baritone

2 String Basses
Timpani, Field Drum, Cymbals, and Chimes

 

This piece opens in moderate tempo, 3/4 time, and

on the tonal center of G minor. The principal theme is

a duple sentence, comprising two eight-measure phrases,

as follows:

Ex. 1

 

\Mmtf 'Vl upflLflD Umflf'TI

 

125

The above pentatonic melody is repeated, beginning
with measure 16, and what would be the second phrase is
re-written, using motive "1", altered, pitted against a
descending thirty-second note flourish in the upper

woodwinds, as follows: 3x.-2

(or with motif "1")

   
 
  

ohim ets

    

WW S}

The altered version of motive "1" is repeated three
times, with intervallic expansion occurring in the upper
voice on the second chord in each restatement. The root
movement is: up a second, up a fifth, down a second, and

up a fifth, respectively.

It is significant that the pulsating quarter-note
figure of the opening measures (1-3) persists, making

frequent appearances here and there.

126

Between measures 30 and 40 motive "1", slightly
altered, is stated in imitation by the woodwinds and

brasses, as follows: Ex. 3

/ WWs and sses I /WWs

 

Concurrently, the pulsating notes of the first

three measures are resounding.

At measure 41 the english horn, clarinets 1 and 2,
alto clarinet and tenor saxes state the Opening theme,
which from this point will be labeled ”a", in the
relative major - B-flat. Motive "3" is the underlying

accompanimental figure. The alterations in "a" are as

follows:
Ex. 4

 

127

Here the leading tone, "a" natural, figures in the
spelling of a major seventh chord on the tonic. Tension,
however, produced by the syncopated rhythm gives this
chord a highly active function, leading to the long

awaited "b" theme which follows:
Bx.l5

 

This theme is carried by woodwinds and brasses.
.Measures 9 through 11 of the above example are repeated
by the upper woodwinds, slightly altered. Concurrent with
this, the accompaniment is a syncopated version of motive

"3" .

At measure 73 the writing becomes more contrapuntal.
Motives “1", "2", and "3" (modified) are under development.
The tonal center has reverted to G minor, after a venture

in B-flat major.

 

u
j

ooueost

169.9116

 

F
film? We.

 

are repa
rewrittet
50W tuel

the Same

 

 

’ 128

After pitting the total motivic resources of the
composition against each other, unity is reached at
measure 83, when altered motive "1", carried by the
upper woodwinds in measure 75, is presented in retrograde
motion, and played in dramatic unison by the high woodwinds.
At measure 88 the supertonic A chord makes an emphatic
return to G minor harmony, and a delightful repetition of
the develOpmental processes of measures 73 through 88 is
at hand. Cnly the first eight measures of this section
are repeated intact. The second eight measures are
rewritten; the retrograde figure, mentioned above, is
now twelve notes in length, instead of ten - retaining

the same contour, nevertheless, as follows:

Ex. 6
Meas. 91 Expanded Retrograde Figure

 

At measures 97 through 109 an altered version of ”1"
re-appears, punctuating the anticipated end of the section.
At measure 109, however, the first eight measures of the
development section are repeated intact, followed by

eight measures, wherein the variants of "1" are expounded.

 

 

 

This lead
of the co
HOW rent
to piece:

sebarates r

 

 

129

This leads to a reprise - a repeat of the very first part
of the composition, (measures 1-26), the last two measures
now rewritten. Each phrase from this point is stated

in piecemeal fashion. The following motive, based on "1“,

separates the phrases:

Ex. 7

Etc.

 

The accompaniment is otherwise derived from motive "3".

The orchestration thickens, beginning at the change
from triple to quadruple meter. The trombones and basses
combine for the first time in the composition to support

the main theme, intermittently, in unison.

Between measures 161 through 224 a dialogue is
maintained, mainly between the upper woodwinds and lower
brasses, the several phrases being stated repeatedly,
with chromatic inflections occuring occasionally that

give a vocal effect.

When measure 224 is reached, the five flats in the

new signature are no surprise, as the foregoing chromatic

 

 

  

begins.
flutes,

Percussi

|
Within

The
and 30:15
work,

as fell.

At

130

inflections have adequately made preparation for them.

After a fermata in measure 224, the grand chorale
begins. All instruments are playing except the piccolo,
flutes, english horn, soprano saxophone, trumpets, and
percussion. The harmony is simple, the voice-leading smooth,_
and good chorale writing is imparted. The instrumentation
here gives a full organ sound, as though the music were

-emanating from a great(}othic cathedral.

The chorale melody is comprised of reworked phrases,
and sometimes fragments, that are germane to the entire
work. It is carried at the outset by woodwinds and brasses,

as follows:

Measure 225 226

 
     
  
 

ti:-

     
 

|

+11

  
 

.o.----c

At measure 23? the "b" part of the chorale appears.

131

It is based on motive "1", as follows:

Ex. 9

 

At measure 245 an extension of "b" is made through
sequential treatment. This extension ends at measure
249, at which point "a“ returns, with the brasses and
lower woodwinds being more prominent than the other

instruments. Measure 256 marks the end of this statement

of "3".

During the next ten measures, the "fanfare" version
of motive "1” is tossed about, mainly between the lower
brasses and upper winds. At measure 261 the chimes enter,
joined later by the harp, and finally, the timpani, cymbals,
and field drum merge into the dramatic unison of the full

orchestra to close the composition on the fourth beat of

measure 266.

132

Pages from Negro History
I. "Africa”

This piece is scored for narrator and the following

instruments:

WOODWINDS: Flute, Oboe, 2 Clarinets in B-flat,
and Bassoon

BRASSES: ‘ 2 Horns in F, 2 Trumpets in B-flat,
and trombone .

PERCUSSION: Timpani and Gourd

smmuos

 

There are four flats in the signature, the meter is

,- 3/4, and marked ”Moderately Fast, 0‘ a 120.

The narrator cpens with the following words:
1
("Long ago, in a proud land, men with dark skins
built imposing monuments and did great deeds in
times of war and peace, until their civilization
decayed. Their tribal life then centered in
the Kraal. They became an agricultural people,
living a simple but free life. In the evenings
after the day's work was done, they relaxed by
telling tales, singing, and dancing. This was
Africa, ancestral home of the American Negro."

The oboe opens the piece with a pentatonic melody,
which is characterized by a drop of a fourth, followed by

 

1
Hoesen, K.D., (ed) Music o_f Q_r Time, Carl Fischer, Inc.,

 

a beep :
tone, 1.

 

the cell
3010 cel

then up»

V1,:

 

133

a drOp of a second, then, an upward climb to the original

tone, in seconds, primarily, as follows:

Ex. 1
Mama, em =Izo)
Ob.

    
 
 

     

A

 

M/

 
 

The violas, bassoon, tom tom, and basses accompany

the cello in a march-like rhythm at measure 10. Here the
solo cello plays a figure which features a downward,

then upward leap of a minor third, as follows:

Ex. 2

 

 

 

\___W— .__ w-———

_———.——-—--——.._-~———. __,,I .7 __

—_'r

K

’t

The I
first and"

tom in

 

 

Here

We“ 3",,
‘ “1.15 2

than D‘
‘ _Rrag

134

The main theme is presented at measure 14 by the
first and second violins divisi, as the same writing

found in the above example continues, as follows:

Ex. 3

 

Here the flute and clarinet play a snatch of the

opening melody intermittently, punctuating, as it were,

the phrase endings of the main theme.

The following diagram will explain the remainder of

the composition, as no new thematic material is presented

subsequently:

See next page

(Measure)

17

18-20

21

22-26

29-31

32-39

no-4?

48-59

60

135

( Significant Data )

Fragment of opening
melody by flute and
clarinet.

Restatement of main
theme as in example 3.

Fragment of main
theme by flute and
clarinet.

Restatement of main
theme by first violins
and woodwinds.

Flute carries fragment
of opening melody,
rewritten.

Restatement of main
theme by violins and
celli, with clarinets,
tom tom, and timpani
accompanying. Horns
play intermittently to
punctuate phrases.

Muted trumpet and flute
play main theme, accom-
panied by string choir.
Gourd enters at measure
44, playing eight-note

pattern.

Link, based on main

theme, played by violins,
muted trumpets, trombone,
horns, clarinets, and
bassoon. Timpani enter at
measure 56.

Main theme played by
brasses, with woodwind
obbligato.

 

rm,
Li

A is bat
“Ethnic

2
an

38 9
~ 0110?

 

 

136

The coda is presented between measures 72 and 83.
It is based on a fragment of the main theme, both
rhythmically and harmonically. Full orchestra is

employed here. The last four measures typify the coda,

as follows:

Ex. 4

re 3323
L

 

 

 

M’s.
Soul “I

137

”Slavery”

This piece is scored for the following instruments:

wooswans: Flute, Oboe, 2 Clarinets in B-flat, and
‘ Bassoon

I BRASSES: 2 Horns in F, Trumpet in B-flat, anduTrbmbone
PERCUSSION: Timpani
STRINGS ' Narrator

-.

The key signature is four flats, the time is 4/4,
t

O a 92. The general mood is dirgeful.

The flute part in the last example of "Africa"
connects this piece with that one. This flute plays a
rather plaintive melody which features a high sustained
”f", followed by its lower neighbor, and sudden return:
than a sudden drcp of an octave, rendering the same
:neighboring-tone figure in quicker notes. Here strings
and bassoon accompany in recitativo style, playing a

figure that is akin to the main theme of the preceding

piece, as follows:

See next page

 

 

Bamc Mothe
’ A

!
who were taken from their homes and carried like ca tle?..

my;

 

During the first ten measures, which constitute
the introduction, the narrator must read in a tempo that
will cause his lines to correspond with those of the music.

Example 1 shows an; excerpt from the narration.

The key signature changes to five flats at measure
11, and the mood becomes more mournful at the marking,
"In the style of a Negro Chant",J ==60. Here the muted
strings, joined later by woodwinds, begin to play a typical

Negro tune, as follows:

See next page

139

ex..6_.

In the style of aflgréami

>24."

   
 

   

 
 

T

During the duration of this Chant, extension is made,

 

+ BEVn

mainly through sequence, and this statement of the Chant

Theme ends at measure 21.

A measure 22 the flute, joined later by the first
clarinet and strings, bassoon, and brasses state the

basic motive of the introduction. The foregoing instruments

enter in the order that they are listed. An excerpt follows:
Ex.7 '

 

    

”i

Accompaniment by lower winds and strings not shown.

 

Th

 

1 total ‘
1 here t1
uuestio

as toll

1mm,

39 an:

 

4

140

The horns, trombone, and bassoon play a two-measure
interlude in the general B-flat major area at measure 37.
Here the appearances of the "blues" third cause some

question as to whether or not major or minor mode prevails,

as follows :

Ex. 8

    

Blimp.

The clarinets play a modified version of the
introductory theme over string accompaniment between measures
39 and 45. Here the basses carry an ostinato figure, thus:

Ex. 9

Strings

 

141

The horns take up this theme at measure 45. The
orchestration thickens, as the oboe, muted trumpet, and

trombone enter between measures 47 and 50.

The orchestration has thined out to clarinets and
strings at measure 54, and here the former restate the
material illustrated in the above example. The bassoon
concludes this section by stating a segment of the
introductory motive, as follows:

Ex. 10

Bfifh

    

The Negro Chant is restated in much the same manner
as before between measures 62 and 88, employing full
orchestra at intervals, and finally thinning out to flute,
then oboe, then strings towards the conclusion of the piece.
The concluding eight measures are based on the

introduction, the last four of which follow:
Ex. 11

Oh.

 

1'51er g 1132fo

 

142

"Emancipation”

This piece is scored for narrator and the following
instruments:

WOODWINDS: Piccolo, Flute, Oboe, 2 Clarinets in
B-flat, and Bassoon

BRASSES: 2 Horns in F, 2 Trumpets in B-flat, and
Trombone

PERCUSSION: Snare Drum, Timpani, and Cymbals
STRINGS .

This piece has one flat in the signature, is in
4/4 time, and marked "Moderately Slow"J = 84.

A ten-measure introduction opens the piece, featuring
a fanfare, played now by brasses, then by woodwinds.
Here the other instruments accompany in iambic rhythm,

as follows: Ex. 12

Moderately slow (J = 84)

Pica, OB .
TrL.(in hat)

   
  

RP szfrc

143

The march-like main theme is carried by the first
violins between measures 11 and 26. The use of triplets
and block-chord accompaniment reminds one of the "Rising
Tide", the choral composition Still wrote for the opening
of the New York World's Fair in 1939. An excerpt of this

on

theme follows: ex. 13

 

(This march-like theme is restated by the brasses in
the F minor area, accompanied by strings and woodwinds,

between measures 27 and 42, in martial pomp, as follows:

See next page

 

\ \\u\.\ s

\..\,,\ \ \

\uk\\\

144
Ex. .14

I S cringe

 

A link, based on the introduction, occupies measures
43 through 52, followed by a triplet roll by the timpani.
This leads to the final statement of the main theme by
full orchestra, in F major. This statement is a real
repetition of the main theme.

A coda follows, which is based on the above theme,

the concluding three measures follow:
- Ex. 15

1 3

String: ‘4
WW:

 

145

The American Scene

This suite is second of five such suites for
"young Americans”: (1) "The East", (2) “The South”,
(3) "The Old West", (a) "The Far West”, and (5) "A

Mountain, A Memorial, A Song".

The three movements presented here are: "Florida

Night”, "Levee Land", and ”A New Orleans Street".

"Levee Land" and "A New Orleans Street" were
premiered on February 5, and February 19, respectively,
on the Standard School Broadcasts in 1959. There is no
indication as to when "Florida Night" was first performed.

This suite is written for the following instruments:

WOODWINDS: 3 Flutes, third interchangeable with.Piooolo,
2 Oboes, English Horn, 2 B-flat Clarinets,
Bass Clarinet, and 2 Bassoons

LBRASS: 4 Horns in F, 3 B-flat Trumpets, 3 Trombones,
and Tuba

ZPERCUSSION: Timpani, Bells, Chimes, Triangle, Tambourine,

Suspended Cymbal, Cymbals, Drums, Harp, and
Celesta A

STRINGS

146

"Florida Night "
(Soft. Loveliness)

This movement Opens in B-minor, 3/4 time, and is

marked, ”Moderately”, 0 = 76. The first theme is played

by muted strings (divisi) with celesta accompanying in

broken chords, reduced from the harmony in the strings,

as follows:

Ex. 1

 

This theme continues through measure 8. At measure
9 a variant of the same theme is played by the same
instruments softly, ending at measure 16 on an F-sharp

minor seventh chord, omitting the third - ”a".

147

Subsequently, this same theme is repeated with flute
and oboe joining briefly, through measure 32.. The
final chord in this announcement of the first theme is
a B-minor chord, outlined again by bells and harp,
omitting the third - "D". This measure is retarded

in tempo.

At measure 33 the tempo picks up too‘ = 104, the
key signature changes to one flat, and after an eight-

measure link which retards, then accelerates capriciously,

playing a graceful figure, as follows:

Fls.

 
   

I” gracefully

The second theme enters at measure 39. thus:

 

148

This theme has an impressionistic flavor, perhaps
because of the partly outlined whole-tone scale melody
and the augmented chords. Strings play the theme with
woodwind accompaniment. A short development takes place,
in which the first and second themes, in combination with
woodwind eighth-note motive of the link, are being
exploited. The brass part is interesting here from the
standpoint of orchestration. The trumpets are muted as
they play in a high register, while the horns play in
the medium register, thus:

Ex. 4

YthI

1hr€

Hermon mute

Hun”

 

149

The time signature changes to 3/4 at measure 73,

where a link in rubato style runs through measure 78.

At measure 79 the recapitulation commences with
the first theme being played by the strings divisi in
B-minor and in the original tempo. The accompaniment
is now augmented, however, by the addition of brass,
woodwinds, bells, and harp. The celesta plays block
chords instead of the arpeggios as in the beginning of
the movement. The movement ends at measure 124, after

a retardation, on a B-minor ninth chord.

”Levee Land"

This piece is in A-flat major, 4/4 time, and marked,
"Moderately”, " = 76. The first theme is of the "blues"
variety, with its syncopation and use of the flatted
seventh. This theme runs through measure 16. The first
:flute, however, repeats the initial eight measures,

beginning with measure 17. The first theme follows:
Ex. 5

Oboe
<51; > P

”I; Send sou—J - div

VIA. Etc o

Cello

 

150

At measure 23 the tempo quickens toJ= 104. The
orchestration thickens, and a modified version of the
first theme is presented "crisply" in a two-measure link.
After this link, which ends at measure 23, the second

theme enters in the first violins in F-minor, as follows:

Ex. 6

    

WW: Bva ........

1

  
 

     
    
  

      
 

          
 
 
 

:37—

LLLJ

:1"

   
 

In/

           

T7

"Bell 1”» Pit?”

The woodwinds accompany here in high register, producing
a piercing sound. This continues through measure 39.
At measure 40 a repetition of the second theme is made
in altered version and extension is made thereupon through
measure 54. At measure 54 a gradual retardation in tempo
is made just before an eight-measure link, based on the

first theme, appears.

.At measure 66 the recapitulation brings the first

theme back once more in A-flat major, but in the flute and

151

oboe, accompanied by clarinets and bassoons this time.

At measure 73 brass and strings divisi rejoin the
orchestra, the theme now being played basically in thirds
by the first violins.

The movement ends at measure 84 on an A-flat major

chord, played by the strings.

”A New Orleans Street
(Gaily)

This is a perpetual-motion-type piece in 214 time,
with two sharps in the signature. The first theme uses
the pentatonic scale, and enters from the outset in the

flute, clarinet, first violin, and second viola, as follows:

Ex. 7

 

 

 

 

M

g.»
c...

E 4]
n:

as fc

t C I
“hitsr

, h
48.3,

by W00

 

152

The full orchestra plays this theme "gaily" at measure
9, J = 132. The percussion part is striking, thus:
EX. ‘ '

Trim :11

Tmhun'ne

 

This announcement continues through measure 43.
At measure 44 the second theme enters in the strings,

as follows:

EX. 9

       

k *8:

  

 

'm

 

The tambourine plays a vital role for four measures
here, followed by an eight-measure statement of the_same

by woodwinds. This is repeated.

.A slight development of the second theme begins in

measure 56 with a brass fanfare, as follows:

See next page

153

Ex. 10

Horn:

i ' j ‘ Etc .

Trumpet:

 

Motives of the first and second themes are used later.
Virtually full orchestra is" now playing the development
which ends at measure 95. A new theme appears in the

strings during this development at measure 68, as follows:

Ex. 11

Etc.

 
   

I mix???

The percussion part at measure 75 is interesting, thus:

Ex. 12

Cyan.
0:.

Tyre .

 

 

 

 

 

 

 

as.

best of

‘ ts pla;

 

theme
\
state»,

otteo

first

33115021 ‘

 

154

A link begins on the second half of the second
beat of measure 95. Here a motive of the first theme

is played by the woodwinds, bells, and upper strings.

The recapitulation begins at measure 102, the first
theme appearing in the high woodwinds. At measure 118 this
statement in the woodwinds is countered by the new theme

cited above in the development, played again by the strings.

The coda begins at measure 135, and is based on the
first theme. The movement closes at measure 149 on e

112118021 ( 81’) "A” .

155

-The Use of Percussion Instruments In This Work-

The percuSSion instruments used in this suite follow:

Bells, Chimes, Triangle, Tambourine, Suspended Cymbal,
Cymbals, Drums, Harp, and Celesta

Movement One

The timpani and suspended cymbal support the
introductory measures, the former rendering a two-stick
roll close to the rim, while the suspended cymbal plays

a two-stick roll close to the center, ending with a

"pressed roll."

At measure #4 the suspended cymbal plays a two—stick
roll, normal style, for six measures, accompanying the

brass and woodwinds that play the second subject (FF)

during the development.

The final measure of movement one is given the

following support by the percussion instruments:
Ex. 13

d

Etc.

 

I
nth x
‘ second

9810118

 

 

point

TOTEM
|

’I

k
1
i as fol

3916:;

is 91

156

In movement two a small drum plays a pressed roll
with muted brass at measure 64, as a variant of the
second theme is being stated. Until this point the
gnrcussion instruments have been silent. After this

point they remain silent through the remainder of the

movement .

The triangle and wire brush open the third movement,

as follows :

Ex. 1U

Triangle
N . Brush

 
  

This pattern is repeated by the same instruments in

several places in the movement.

At measure #5 the following percussion accompaniment,

is played during the link:

Ex. 15

Sm“ Cgmhl ; 1‘ } r

     
 

8». Dr

157

Towards the end of this movement, the wire brush

and cymbal play the pattern illustrated above.

At measure 63 of movement four, the suspended cymbal
is instructed to "draw small file rapidly downward on edge

of cymbal” on a half note, as follows:

Ex. 16

 

Interestingly enough, chimes accompany the brasses in

a statement of the main theme.

The cymbal holds through the last chord in the movement,

giving a chilling effect, as follows:

   

Ex. 17
Last
Orchestra Ch"

  
  

Cymbal

CHAPTER THREE

-Piano Works-

158

159

PIANO PIECES

The piano pieces discussed in this section show a

definite change in Still's style. They are all impres-

sionistic, and many of them embrace more than one tonal
plane.

Although Still adheres to his normal Negroid style in
works composed about the same time as the piano pieces,
it is interesting to observe the adequacy with which he
expresses himself in these little keyboard gems in a

style which is far from Negroid.

One would well commend these pieces to the music

educator. Many young pianists have cherished having

"Summerland" a part of their repertory.

Only two of the Three Visions are presented in this
section, as the author felt that "Bells" offers substance

of greater relevance to the study than "Radiant Pinnacle"

The Three Visions, composed in 1935, and the

Seven Traceries, composed in 191m, are similar. They

both reflect a musical idiom which is entirely different -
from that used by Still in his symphonic works.

160

These two works are, nevertheless, indicative of the

composer's musical individuality. The harmonic structures

are blends of consonance and dissonance, the moods are

strongly contrasted, and the thematic material is strikingly
original.

The Three Visions are musical expressions of three

dreams, while the Seven Traceries are abstractions,

bearing the imprint of mysticism.

These impressionistic pieces are recorded by New

Records, Incorporated, New York, N.Y.

161

Three Visions

 

"Dark Horsemen"

This composition is in h/h meter, has no key
signature, J =Cir 120.

A motive which consists of an F E chord, followed by an
enharmonic B major chord with superimposed thirds, opens

the piece, as follows: Ex. 1‘

(Mot "all )

 

Motive "b" is presented in measure 3, as follows:

Ex. 2

 

\I w . tut: .uulHEHMH

 

162

An altered version of motive "a” is presented a third
higher, followed by an altered, sequential treatment of

motive "b", between measures 5-7. The following

example shows the essential treatment of motive "b":
Ex. 3

 

This is followed by a series of third-relation triads
in the right hand, in broken rhythm, above a "d" pedalpoint,
now smooth, then an octave leap, the first note of which

is like a grace note, as follows:
Ex. h

 

163

A tritone leap initiates an arpeggiated version of
motive ”b". Here the harmony could be analyzed as a
second inversion of a D seventh, considering that A-flat
is spelled G-sharp for reading convenience. Note that

in the second bar of the example the harmony changes to

a B-flat ninth chord, as follows:
Ex. 5

    

v

 

The rhythm throughout the composition is quite
depictive of the galloping of horses. One further notes
that no strong feeling of tonality is present. The
composition was composed when Still was perhaps unconsciously

operating under the influence of Varese.

Motives "a" and "b" are combined at bar 19, thus:

 

164

The above procedure continues through measure 30.

The reprise occurs at measure 31. The rhythm and

transposition spell the difference between this section

and that of the initial "A” section. The rhythm is

smoother, as follows:

Ex.__7.

 

At measure 3“ the writing for the left hand is

smoother, as it plays in angular motion in eighths,
employing the intervals of the tritone and sixths,

against the right hand. Here the latter plays a

sequential version of motive "a", as follows:
Ex. 8

2.7zc-r‘cuc. Jt‘ecclily

 

165

The coda is based on motive "a". Here the writing
moves to the lower keys of the piano, to suggest the

shuffling sound of the darkmen's horses, as follows:

Ex. 9

 

 

166

"Summerland"

This piece is in 6/8 meter, has one sharp in the
signature, and is marked, "Tranquilly', J‘= 44.
"Summerland's" design parallels that of Debussy's "Clair

de Lune".

The Opening theme consists of a duple sentence,
an excerpt of which follows:

Ex. 1

g’fl

L' p

 

The second sentence is an altered version of the

first, and begins as follows:
4 Ex. 2

  

Ax

 

 

[AAA/l I 4‘ 4

167

The second sentence is followed by a transitional
passage which is based on the theme to come. Seventh
chords are used in the high register of the keyboard,

giving an impressionistic effect, thus:

Ex. 3

 

The second theme enters next in the left hand. It
is an outgrowth of the transitional passage. The penta-
tonic scale is used here, giving a folksong-like effect:

Ex. 4

 

168

The above theme is developed through measure 30,

afterwhich the first theme is presented in the D major

area, three measures of which follow:
Ex. 5

‘1?

   
   

-I”

 

177
The signature changes to one sharp at measure 39.

Here an altered version of the first theme is presented.

The reprise begins at measure #9, slightly rewritten,

as follows: Ex. 6

///””F-—______.~\\‘\e

 

169

The concluding bars are characterized by a gradual
shift from the high notes in the right hand to the
lower notes of the keyboard, basically playing seventh
and ninth chords. The music retards and diminishes
in volume as the end approaches, as follows:

Ex. 7

and Retard to

 

The total mood of this piece is impressionist.
The composer does a masterful Job of depicting
picturesque scenes of summer through the use of
voluptuous harmonies, as well as spacing these harmonies

in a manner which suggests serenity and idyllic Joy.

170

"Bells"
(Fairy Knoll)

This piece has one sharp in the signature, is in
2/4 meter, and marked, "Very Lightly", 0‘ =- 112.

Four tells of the knell (motive ”b") permeate the
entire piece. The Opening measures ring out with high
peals (motive ”a"), as follows:

Ex. 1

8n...................

 

This initial statement of the main motives runs
eight measures. Then, this statement is repeated,
intervallioly intact, but transposed down a major third,

through measure 16.

171

At measure 17 a fragment of the main motive is

presented, with motive "a" being played by the right hand,

and motive "b" by the left hand, as follows:
Ex. 2

 

This version of the main motive continues through measure
24.

An eight-measure link leads to motive "c", and to a

change of key signature to three flats. Motive "c" is

discussed for 36 measures, in various and sundry ways.

A typical excerpt follows:
Ex. 3

 

172

Measure 81 marks a point of climax, as a C major
chord triumphs over all the restlessness of the writing
which precedes it. The chord is undergirded by a
pentatonic flourish of sixteenth notes, which runs from

great "C“ to three-line “A” of the keyboard, an excerpt ofwhich

follows :

 

Hz.

The reprise begins at measure 85. Here the whole

complexion of the initial motive is changed by the
essentially major quality of the transposed writing.
Noteworthy is the expressionistic quality of the lingering
overtones of the four tolls, imparted by the upward
chromatic inflection of the left hand part, as follows:

See next page

173

 

The last two measures of the piece present motives

“b” and ”c", as follows:
Ex. 6

 

174

Seven Traceries
"Out of the Silence"
(For William Allen)

This piece has one flat in the signature, is in 4/4

meter, and marked, "Tenderly" e‘- 40.

"Out of the Silence” opens with the left hand playing
eighth note-dotted quarter patterns of 7th chords in each
half of the measure, beneath a rather charming melody,

whose downward bending contour is basically smooth, thus:

Ex. 1

 

1’ . i ..

Then, thematic expansion is made on the above idea,

as follows: Ex. 2
~\ - r .

 

175

The second theme appears in measure 16, after the
signature changes to no sharps or flats, and the meter

changes to 12/8,.I = 50.

This theme is a rhythmically extended version of the

opening one, and has the character of a popular tune

one might hear in a respectable cocktail lounge, thus:
Ex. 3

    

,1. - _. '1 . iri-__.-.._r

At the completion of the above theme, at measure 25,

a four-measure link begins, a; follgws:
x.

 

 

\\\\\\\
|l\'|.| {iii-Ill I'll-[Il‘.

176

The reprise begins at measure 30. The key and time
signatures are the same here as they were at the beginning
of the piece. The right hand, however, now has thicker
texture, as it plays more ponderous sounding chords in place
of single notes, as follows: Ex. 5
I

Tempo IJ=4O A
i //,/"Z_

     

 

  

 

v v

Extension of_theuoriginathheme is made as follows;
Ex.

 

177

The coda begins at measure 43. The writing here is
more dissonant than anywhere else in the piece. There are
interesting superimposed chord structures, indicated by
asterisks in the following example:

Ex. 7

    

v

Then, comes a rather mysterious ending, suggestive
of two harmonic planes. The superimposed chord structures

are indicated by asterisks: _
Ex. 8

minis/7 and

 

$32. $th

I‘ll-n

 

 

178

"Muted Laughter”
(For Jessie, Marge, Adrian and Charles)

This piece has one sharp in the signature, is in

2/4 meter, and marked “Lightly”e' a 160.

It opens with a percussive figure, as follows:
1

Ex.
A

  

A

    

The harmony consists of a G major chord, followed by

an A minor chord in the right hand. The left hand supplies

double neighboring tones on the second half of the first

beats of measures 1, 2, and 4. In measure 3, the left hand

supplies these double neighbors on the second half of both

the first and second beats. In measures 2 and 4, the second-

beat harmony is an F major chord, rather than the previous

A minor chord.
The "a" motive is treated in sequence through measure

12.

,i 1.52: .r .ufixhxx.

179

A four-measure figuration, based on motive "b"
follows in measure 13, and continues through measure 16,

as follows:

Ex. 2

 

This motive is modified between measures 17-24, as

indicated by following excerpt:
Ex. 3

A, A A? A

       

  

{ff

7

 

mgg‘_r \J/ w

180

Then, motive "a" is combined with a new motive, "c“,
definitely in the G major area, between measures 29-48.
Here the piano style of Count Basie is recalled in the
right hand, thus: " Ex. u

A
I
v

 

The original tempo is called for in measure 49, after a
retardation in measure 48. Here the "a" motive is presented

intact, for the most part, and the reprise is at hand.

The concluding four measures comprise the coda, which

hints at motives "b” and "a", as follows:
Ex.

 

181

"Mystic Pool"
(For Josephine Harreld)

This piece has one sharp in the signature, is in

3/4 meter, and marked "Delicately"J = 50.

It opens very softly with the left hand playing the
melody, based on a C minor 7th chord, and the right hand
playing an accompaniment which is based on an E flat
augmented 7th chord. The two parts, however, play
harmonies which could be analyzed within the context of

one chord: a C minor 9th, as follows:

Ex. 1

 

182

At measure 9 motives "a" and "b" are presented in

slightly altered form, as fofilows:2
x.

07-59172 «.1 Tampa

/——\

 

Motive ”a” is presented in augmented form in the right
hand, as the left hand plays a compressed version of the
same motive at measure 16. Here the signature has changed
to one flat. The writing sounds very impressionistic,

because of numerous augmented harmonies used, thus:
Ex. 3

 

183

The writing becomes more transparent at measure 22.
Here the right hand plays an altered version of "a",
which features octave displacement of its last three notes.
The left hand accompanies with a robust bass in low

register, as follows:

Ex.:' 4

 

h
The reprise begins at measure 30, using the same music
as the beginning of the piece, except that the high
register of the keyboard is kept for a longer period,

and extension is made, as follows:

Extension of "a”

 

184

The coda runs from measures 40-47. It is based on
motive ”a", Interestingly enough, the polychord that
concludes the piece is based on the harmonic outline of

motive ”a”, as follows:

Ex. 6

bl A

 

Rafa r61 liaéf/y ( Cmitvigeh an) 1

 

”‘1st I. l. gimp: , . -. like In 15¢th

185

“Woven Silver"
(For Kay Swift)

This piece has no key signature. The time signature
is 2/4, and the tempo indication is "Daintily" J a 88.

This is a perpetual-motion type piece, based entirely
on triplets, with augmented chords or intervals marking the

cadences. The following example illustrates the germ idea:
' Ex. 1

. f"

 

Rather capricious writing appears in measures 14-17.
Here the tempo retards and increases twice, thus:

Ex. 2

etc.'

Original Tempo Heia’r‘dSlc'ghUy 0r: ' (IT a
as W

 

 

in time a Eaten. . , . V . \xxat r. x..\.x\w1c

 

186

The texture changes in measure 23. Here triplets are

played by both hands simultaneously, as follows:
Ex. 3

 

There is no return of the first section, in fact, the

entire piece is free as to form.

The last chord is a polychord: G-sharp minor in the

right hand, over an F major chord in the left hand. This
appears after a run which seems to be in the A minor area,

as follows: Ex. 4

Retard, _. _ _. _

 

11.1%!

187

"Wailing Dawn"
(For Militza and James)
This piece has two sharps in the signature, is in

3/4 meter, and marked "Mournfully" J =- 50.

A motive which uses the three lower notes of
Scriabin's ”mystic" chord opens the piece. This chord
progresses to a G sharp minor 7th. This motive is
followed by a D sharp 7th with superimposed major and
minor thirds, moving to a C sharp 7th. The right hand

here plays a melody which outlines a B flat augmented

:4.

7th, as follows: Ex. 1

 

The sounds here are very somber, and give the

impression of a dirge. This basic motive is extended

through measure 15.

 

«vaumLLn- «mimukk I u. a. .. -31 ,m. ..\\&\\ . .\\N.\\

 

188

The tempo increases after a one-measure link, and

a recitative-like passage is played by the right hand,

as follows: EX- 2

 

’MP Marry 51:95:11.1] Siricfrmc Pelard

The big moment in the piece comes in measure 29,
when extension is made on the recitative-like theme,
mentioned above. Here extreme registers of the piano
are used, and cascades of beautiful harmony engulf the
listener, as follows: Ex. 3

'7“. — ¢— — —J —‘ — F: _. _ _—
__ —_ —. — _— 1

b

 

f f Broadly

  
  

 

var . 1.. ~ . .Vk 105$. \sj\\

,(lvllllll‘! ..... I “ I:l

189

Immediately following this in measure 33, the right
hand plays a transposed version of the recitative-like

theme, as follows: E?-_ 4

Hurry 559M Retard. 5&9

VV

 

A five-measure link leads to a repetition of the
initial motive, in original tempo at measure 41.
[Extension is made on this motive through measure 67-
The following example illustrates a portion of the

extension: ' .Ex. 5

    

A

 

 

./- P

I ‘l f it‘.’

I i'-r.?1

la...

_7

190

The concluding six measures constitute the coda.
The harmony here consists of a major 7th on G, followed
by the same chord on B, the latter ending the piece, as

follows:

EX. 6

 

191

"Cloud Cradles"
(For Helen and Allan)

This piece has two flats in the signature, is in 6/8

meter, and marked, "gracefully", 04= 84.

"Cloud Cradles" opens with a motive, labeled "a" in
example 1, which features a D minor triad in the right
hand, over a G-flat major triad in the left hand.

These are arpeggiated in contrary motion, as follows:

Ex. 1

1J.

 

A new motive ("b") appears for the first time in
measure 7. It is based on B-minor harmony, and played by
the left hand. The right hand accompanies with D minor-ninth

harmony, as follows:

See next page

192

Ex. 2

vie—a

 

Motive "a” is presented in sequential pattern between
measures 9014. The key signature changes to two flats in
measure 13. Up to this point the harmonies sound very close
to those of Scriabin. Still's harmonic language is based
on superimposed thirds and fifths of varying qualities,
while Scriabin based his on fourths of varying qualities.

The "b" motive appears between measures 15-16, slightly
altered. This is followed by sequential statements of "a”,
through measure 30, during which two tonal planes are

maintained, as follows:

Ex. 3

/’_—\ e

    

G Minoa>¥lane

193

This bitonal writing is further illustrated in measures

31 and 32, as follows: Ex. 4

I g " 0
8V“ _. __ \

    

H

An arpeggiated link between measures 41-44 leads to a
brief development of motives ”a" and "b". The key

signature changes here to no sharps or flats. Motive “b"

is inverted. The link is summarized in the following:
Ex. 5

 

I manta! -vErfiE.-.~\1 c .x w z. 9 ,, x-
lllIIIII'll-I'llll'll‘llllll'lll‘l’ll)

 

194

Then, a slight development of the two motives ensues,

Ex.. 6
”‘\\\
Q

as follows: - ,

    

( Moti

 

Motive "b"

\—

F—

 

The reprise begins at measure 57. Here the key signature
changes to two flats, and the harmony is more easily analyzed
as tertian than other sections of the piece, hitherto discussed.
The first measure here could be analyzed as an E flat 7th,
considering the C sharp and A natural as being double appog-
giaturas. The second measure could be analysed as an E flat
9th, with the same appoggiaturas as in the previous measure, thus:

Ex. 7

' 7:\\

    

0219;? age

Til‘xllydif . FK“ 1"

II. II, )1!

195

Polyharmony soon re-appears, as the piece ends on a
polychord. This polychord consists of an enharmonic
B flat augmented 7th over an enharmonic E flat diminished

Ex. 8
triad, as follows:

L.
Refer-d ~ .. ._
l m
‘r

 

The spacing of this last chord renders it pleasing

to the average ear.

196

"A Bit of Wit"
(For Florence and James)

This piece has four flats in the signature, is in

2/4 meter, and is marked, "Playfully", J = 88.

It opens with a motive (“a”) which outlines a D-flat
major-seventh chord in first inversion, considering E-natural
and B-natural to be appoggiaturas. Motive "b", which
appears in measure 2, outlines an augmented 9th chord on
E-flat. Interestingly enough, it also spells out the lower

five tones of a whole-tone scale on C-flat. The first three

measures follow:

Ex. 1

Motive"b'

 

Mauve "A"'

197

There is a dialogue effect between motives "a" and "b”:

measures 1-4 .

A four-measure episode, which features arpeggios.

leads to the aforementioned dialogue, rewritten, as follows:
Ex. 2

‘ . ‘

 

The two motives are combined between measures l9-26.

An excerpt of this jestingly writing follows:

 

198

The reprise begins in measure 31, following a four-measure

link. Extension is made, however, between measures 36-40.

This extension is based on motive "a", as follows:
Ex.

 

r
The coda begins at measure 41. It is a thin~textured

figuration, based on an F minor chord, thus:
Ex. 5

 

199

This is followed by two measures of thicker-textured
polychords, the concluding three of which express vociferous

laughter with great effect, as follows:

Ex. 6

As load A: Possible

> 7

 

CHAPTER FOUR

~Choral and Vocal Works-

200

201

CHORAL AND VOCAL WORKS

The works presented in this section are representative
of William Grant Still's best effort in this medium.
They were examined at his suggestion, and it is obvious
that he gave very careful thought and put forth special

effort in writing for the voice in these compositions.

The fact that Opera is Still's first love is more

apparent in these choral and vocal works than in other

compositions by this composer.

The Caribbean_Melodie§ are well commended to the
music educator who is interested in integrating dancing

and/or action with singing. The freshness of the harmonies

is another valuable element of these works. This harmony

is the product of singable and well-conceived melodic

lines, and should present no problems to the average high

school singing group .

202

“Rising Tide"

This work was the theme song, commissioned by the
New York World's Fair during 1939. It was published by

J. Fischer and Brothers, New York, at that time.

The work is in G minor, 4/4 meter, and marked
"Martial". It is a setting of the following poem by
Albert Stillman:

”There's a stir in the wind

That's growing and growing,

I tell you the wind is blowing the past away!

For the pulse of the world is beating and beating,
and ev'rywhere men are meeting to say:

We're the rising tide come from far and wide
Marching side by side on our way

To a brave new world, tomorrow's world,

That we shall build today.

From the plains we come, from the mountain side,
We're the rising tide of the world:

' From the farm and from the fact'ry we come forth!
From the East and the West, from the South, and
the rest from the North:

Will you join the song of our happy throng,

As we march along on our way?

For we're starting today, hand in hand, side by side,
And tomorrow and forever comes a great rising tide!"

203

A march-like introduction of four bars cpens this
piece. Polychordal harmonies are used, because of the

spacing, as follows: Ex. 1

 

 

The tenors and baritones enter in the concluding

measure of the piano introduction in unison. Their line
opens with an upward skip of a major sixth, answered

‘by alternating major seconds. From this point the
contour'is rather angular. At the words, "that's
growing and growing”, (measures 5 and 6), the altos and
basses enter, and later in measure 6 the sopranos enter
to emphasize the unison singing of the words, 'I tell' you
the wind is blowing", (measure 7). During this time the
accompaniment remains march-like, playing block chords,
of the seventh and ninth, duplicating the harmony of the

204

voice parts, as follows:
Ex. 2

There's a stir I ' ' -1'Y.g rot: - i‘ngi
A

 

and

tell 3w wind is

 

The next two lines of the verse are set to four
measures of music, based on the opening vocal phrase.
Notable is the contour of the sopranos and altos at the
words, "is beating and beating”. It is a drooping contour,
based on two melodic figures, treated in sequence, as

follows: Ex. 4

 

205

This first verse occupies the eight measures following
the introduction. The second verse, beginning with the
words, ”We're the rising tide”, occupies twelve measures.
The key changes here to one sharp, and the melody is
more conjunct. The texture in the voice parts is more
transparent, because of the doubling between the first

sepranos and baritones, as follows:
Ex. 4

Eh:

wide march -

    

\_A_1

The above example basically illustrates the music
that serves this second verse, which terminates in

measure 26.

The third verse opens with the same music as did the
second. At the words, ”From the farm", however, the first

sopranos and tenors sing a new melody in unison for three

measures 0

206

The above procedure is punctuated by a gig-like
two-bar interlude which leads to a bouncey phrase by
the sopranos, altos, and tenors. This bouncing rhythm

marks the phrase, “From the South, and the rest from

the North!", as follows:

 

207

This verse terminates at measure 32. Here the
final verse commences. It is set to basically the same
music as verses two and three, except for the last eight
bars, which are slightly extended. At the words, "For
we're starting today", the characteristic rhythm that
permeates the piece is modified through occasional
prolongation of notes in the voice parts, as well as
fleeting cessations caused by rests. The accompaniment

remains march-like, nevertheless, as follows:
Ex. 6

<

For we’re to-day,_ hand in ma, side side, _ Am] to

’ . . <
For we‘re Shift to 11:3,. Land in Wind’s'iac by Side, __ A“; to

For we’re starring to - day- him} in land’s“: by Side,__ Ahr‘l—E:
3

For we‘re start-in to «is __ handin ham] me: :ide__ Audt.
£5—| 3" {—3-1 I r7; J m

     

For we're stare-ins to - (133,; Fun! in haul, side. by sue,— Am] co

This piece concludes on a high pitch of grandeur, as
the voices are more widely spaced, and the upper
registers of the sopranos, tenors, and baritones are
used. The music 'Retards Greatly", beginning with the
third from the final measure, and cadences with a formula
that features a medified dominant (#1 9) progression to
the tonic. The tonic chord here sounds rather open,
because of the spacing and doubling of the fifth in the
second soprano and tenor parts. Only the baritone part
sings the third of the chord, and the remaining voices'

sing the root:

 

mox- ora'u and {‘or — er comma ris Jug side!—
(

rah r3

mer- row and {er-e: - creams as great ris wing tide _

Mor- row - - er Claims; am‘glreat ins—mg _—
=_ r: a; 3 I A

-ev-er comesa
>

 

209

And The: Lynched Him Qn,g_Tree
(Dedicated to Henry Allen Moe)
Double Mixed Chorus and Contralto Solo
Narrator and Orchestra (or piano)
This composition is a joint creation of Still and
Katherine Garrison Chapin. It is unique, in that it
approximates a stage production, scored for White Chorus,

Negro Chorus, Orchestra (Piano), Contralto Soloist, and

Narrator.

The work was premiered under the baton of Artur

Bodzinski on June 24, 1940, at Lewisohn Stadium.

Miss Chapin's poem was inspired by the age-old
tragedy of mob lawlessness and its particular racial
expression in the United States. It voices her conviction
that lynching is a serious flaw in the fabric of American
democracy, and that hers is the conviction of the

majority of Americans in the South and North.

A_r_1_d_ _T_h_e_y mehed Him 93 a T392 was brought to Still's
attention by Dr. Alain Locke of Howard University. Still
‘was the recipient of a Rosenwald Fellowship for continued
creative work at the time, and welcomed the project. He'

felt that it would win approval of Julius Rosenwald himself.

210

‘“And They Lynched Him On A Tree“
By Katherine G. Chapin

"We've swung him higher than the tallest pine
We've cut his throat so he ain't goin'ter whine
Come along, feller! Come along home!

Come along home, start up the car!

Gee, but I'm thirsty, and I'll bet that you are!

The moon's gone out, and so'have the stars.
Come along fellers, start the cars!

Start those cars, it's mighty dark
Headlights showing where you park.

It's mighty dark, and it's growing cold.
Better go home now the night's growing old.

God, I'm glad he's no son of mine!

00 Look derel, is dat a shadow?

Look dere, look dere, is dey all gone?
Creep softly, de dawgs are in de meadow.
Creep softly, de dawgs have Just gone along.

Here's de limb, And here's de tree!

Oh my God, have mercy on me!

Oh sorrow, You've taken my hand

Oh sorrow, I must walk with you to de Promised Land!
Oh sorrow, Oh my son! Oh Jesus, my Jesus,

What have they done!

71 can remember the day he was born, and the pains

tore - he was such a man child and the day he left me,
goin' down the road to a man's world, and him creeping
home, running from the men, and the dogs baying in

the pine woods.

And I remember the flies buzzing in the courtroom and
the Judge saying over and over again, "For the rest of
your life, For the rest of your life.‘

211

I”He was her baby. At her breast He drew his life.
By her hand He learned to walk. In her love

She sheltered him.
He was a man, his proud head He carried high. He

was a man, quick with a gun, quick with love,
he passed by. Now he swings high.

He was a man, strong with an ax. He was a man, sharp with

a gun. Ready to laugh, strength in his loins,
sweated with sun, close to the earth. He was a man, Lewd!

He was a man quick with a gun, he fell on evil days.
Trouble was after him, trouble followed his ways.

Women loved him, women came at his call. They stood in
the doorways, they watched from the fence, they waved
from the windows. He was strong and tall, women all
loved him, but he had no sense, so he ended in Jail,

and they gave him 'life'.

Took away his name and his coppers and his knife.
Took away his name, in the name of the law.
But Justice was a slow thing to be waiting for!

Justice was too slow the White men said - So they got
together when the sun was high, They marched to the Jail,
and broke into the cell, and rcped the prisoner to drag
him out to die.

They dragged him on his knees, and they lynched him on a
tree. And they left him hanging for the world to see.
Justice was a slow thing to be waiting for

In the false name of Justice they broke the law!

Oh, ma Jesus, 'where is your hand? They've taken this bOy
to a dark land. He did wrong, but couldn't they let him
be, Not die like this on a roadside tree?

They left him hanging for the world to pass by,
But a bloody sun will rise in a bloody sky,
A bloody sun will shine across this sand. And a long

dark shadow will fall on the land."

212

Argument of the Work

It is night. A Negro has Just been lynched in a
clearing by the roadside among some turpentine pines.
Parked cars with lighted headlights are on the scene.
The mob who hanged the victim and those who watched are
now leaving. They sing, get into their cars and depart.

The Negroes slowly come out of hiding to find the
body of their friend. The mother of the dead man is
among them, as they grope for the tree in the darkness.
The tree is found and the mother sings her dirge.

The Negro chorus Joins her and they retell the story of
the man's life and rehearse the tragedy. She is humble
and heartbroken, but as the Whites and Negroes sing

together, the song becomes vibrant in impartial protest

against such lawlessness. Pleads for a new tolerance to

wipe this shadow of inJustice and intimidation off the

land .

213

This piece opens with two flats in the signature.
It is in 3/1; meter, and marked, "rapidlyJ= 138.

A rhythmic, strongly accented figure which opens
the piece suggests the careless brutality and cold

nervous tension of the lynching mob, as follows:
Ex. 1

 
 
 

 
 
 
   
 

’\

    
   

#7 -7

—'

b
At measure 13 a fragment from the opening phrase

sung by the chorus is given in the left-hand piano part,

thus 3 Ex. 2

 

21b

The chorus enters at measure 29, singing the words,
“We've swung him higher than the tallest pine", etc., in

the G minor area. Here the percussive figuration of the

introduction accompanies the voices, as follows:
Ex. 3

  
 
 

 
  

(All vo
higher

  

ices in unison; soprano and alto an 00

 

H

In the second phrase, which opens with the words,
"We've cut his throat", great emphasis is given to the
word ”throat”, as the sopranos and basses divide into
two parts. Here each section sings in its upper range.
The sensitive augmented 7th chord on "G" also heightens

the emphasis, as follows:

See next page

215

Ex. 1’

 

The male section of the chorus sings the phrase,
"Come along fellers, come along home", between measures

37 and M, as follows:

See next page

216

Ex. 5

 

.— .-

The female section answers in measure 45 through

48, as follows: Ex. 6

gorranm‘

    

a-long

Arr»:

 

 

............

217

This is followed by the full chorus' rendition of
"Gas, but I'm thirsty", etc., using basically the same
music as was cited in the above example, slightly extended.
Here the accompaniment is smoother, and the opening motive
the chorus sang reappears in the left-hand part. This
section is rounded off by a slightly rewritten recap-

itulation of measures 29 through 56.

Aflter‘ the recapitulation the female voices open
a four-measure link with the words, “The moon's gone out!,
etc., (measures 77-78). This is answered by the male

voices as follows: (Accompaniment not shown)
Ex. 7

The moon's gone ou and so have the

start the cars!

 

 

218

This is followed by the recurring chorus,

"We've swung him higher", and so on. At the climax

of this restatement, the soprano soloist hysterically
interrupts, singing, "God I'm glad he's no son of
mine!", for Just two measures. Her melody line simply

outlines an F-sharp minor triad, descending from a high

“A" downward to its octave.

This is immediately followed by imitative singing

between the male and female voices. They sing the

words, “Come along home!" This leads to the concluding

chorus of the section. Now the full chorus sings the

above phrase, gradually diminishing in volume and tempo,

and ending on an F-sharp unison. Here polychordal

harmony appears in the accompaniment, i.e., E-flat minor
and C maJor harmonies sounded together. Such harmony is

useful here in depicting the starting of motors and

occasional honking of auto horns, as follows:

See next page

 
     

   

new; mac 1:10.)

 
 
   

 
 
 
 
 

  
  
   
 
   

--—- come a ------ long! come a-long home !

re 3"”

    

--- ! ome l n home!
come a long c rift? g

    

long!--- come a--—long! come a—long homel.

  
   
    

refit)?

Polychord here
(Acc. not shown

 

The body is discovered, and the tempo decreases at
measure l#8 toe‘= 52. Here the chorus sings a phrase which
is identical to the opening of the Negro spiritual,

”I Know de Lewd done Laid Hiss Han's on Me”, except

for the last two notes in the former, thus:

See next page

220

Ex. 9

Oh my God, have mer on me!, Etc.

 

The mother's lament for the untimely departure of

her son is sung by the contralto soloist, as follows:
Ex. 10

Cowf LLfO falcixf

     

Oh sor—-row oh sor-row --------- Etc.

\\~______¢_..——”’/

221

This solo continues through measure 196. Humming
by the female voices lends support between measures

189 and 196.

The key signature changes to one sharp in measure
I
212, and the tempo marking is 0 = 58. The section opens
with the female voices singing, "He was her baby", etc.,

as follows:
Ex. 11

Soyneno; :f

 

222

The full chorus re-enters in measure 221, singing,

"He was a man", etc. The female voices sing alone once

more between measures 227 and 233, beginning with the
words, "quick with a gun“, etc. The music here is
basically the same as that illustrated in the above

example. The men contribute again to the eulogy at

measure 235, as follows:
Ex. 12

fame/J

   

He was a man strong with an ax. sharp With a gun.

519’! one! He was a "\ , ,
I

sharp with a gun.

strong with an ax.

The narrator speaks at measure 2148, after a retardation

in tempo is made. He begins with the words, I'He was a

man", during which the accompaniment plays a variedversion
of the contralto solo cited above.

223

At the conclusion of this speech the SOpranos, altos, and
tenors sing a blues-like melody in the E minor area,

as follows: Ex. 13

9 3

VT
11:?

L

 

o,

The sounds here are rather representative of those
which might emanate from an untrained group in an
impromptu performance, perhaps, because of the doubling

between the tenors and sopranos.

The tempo quickens at measure 289, and here the

White chorus sings a testhmony of circumstances surrounding

22#

t :
he lynching, as follows Ex 1#

4”?

Jus-tice was too slow the white men said
on?

white men

 

During this testimony the accompaniment simply
doubles the voices, and the White chorus begins a
continual ascent in pitch level, which corresponds to
the mounting actions of the mob, now under discussion.

This chorus closes with the words, "they broke the law".

At measure 305 the contralto sings a new version of
her solo, already illustrated above. The key is now

F maJor throughout. The full chorus sings along with;

225

the soloist this time, imitating her lines, melodically

as well as textually.

Both choruses unite at measure 318, after an interlude
between measures 313 and 317. This interlude modulates

to G maJor. The choruses sing the following:
EX. 15

They left him hang-ing----for the 1d to pass by,

left him hang-ipg‘C-for the world to pass by,

 

At measure 234 the two choruses sing a rhythmic pattern
very similar to one found in "Rising Tide", except that

the latter employs rhythms borrowed from compound meter.

The example follows on next page:

 

 

ism-w- , w. 31,-W-MEW 31.-q

I'll}!

 

226

Ex. 16

Cut him down!
44F

 

This allusion is probably unconsciously made, but is
in good taste, as the choruses are "marching side by side“,
so to speak, to admonish the nation to "clear the shadow

that falls across your land", as follows:

See next page

. .swx-rw

- 1,..mfl -- - 4mm s --

\\\.\.\

227

 

 

 

 

 

 

 

 

 

 

Ex. 1?
. ,I
reIMJ Jfikldf 7" Mae-"J EF refuel
-5 ' n 7‘ fin
I, “I I, I I: 1" [7:11 :I' I I C) {III ”A — II
I I I I I I I I: I I l \ M I I: II
I I II I I. I I I" I II I l I) H
d ' V ' V ‘ ' ' l P '
clear the sha-dow falls a--cross your land!
I. I I I‘ I I . ' fivLL‘ .u—n
' ' l l I Il
.' l’ l' I l‘ I " I. ' I I) “H “411”
l 7 I ll

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

7 .
The dissonant F-minor 9th that concludes the piece

well portrays the distaste and unseemly blemish that such

dastardly acts cause. The sustained "G" in the accompani-

ment dissipates, however, this dissonance, as if to say,

"and tomorrow and forever comes a great rising tide!"

228

"Plain-Chant For America"

Katherine G. Chapin

"For the dream unfinished out of which we came,
We stand together, while a hemisphere darkens
And the nations flame.

Our earth has been hallowed with death for freedom;
Our walls have been hallowed with freedom's thought.
Harper's Ferry light up with their flares

Our sky of doubt.

We fear tyranny as our hidden enemy:

The black shirt cruelty, the goose-step mind.
No dark sings close the doors of our speaking,
No bayonets bar the doors to our pray'rs

No gun butts shadow our children's eyes.

If we have failed Lynchings in Georgia,
Justice in Massachusetts undone,
The bloody fields of South Chicago.

Still a voice from the bruised and the battered speaks
out in the light of a free sun, saying,

'Tell them again, Say it America; Say it again

Till it splits their ears:'

Freedom is salt in our blood and its bone shape;

If freedom fails, we'll fight for more freedom.

This is the land, and these are the years!

When freedom's a whisper above their ashes

An obsolete word, out on their graves,

When the mind has yielded its last resistance,

And the last free flag is under the waves

Let them remember that here on the western horizon

a star, once acclaimed, has not set;

And the strength of a hope, and the shape of a vision
Died for and sung for and fought for, and worked for,
is living yet!”

229

”Plainchant For America” was composed for the
centennial of the New York Philharmonic orchestra, and

dedicated to President and Mrs. Roosevelt.

The instrumentation follows:

WOODWINDS: 3 Flutes (third §g_Piccolo), 2 Oboes,
English Horn, 2 Clarinets in B-flat,
Bass Clarinet in B-flat, and 2 Bassoons

BRASS: # Horns in F, 3 Trumpets, 3 Trombones,
and Tuba (cup mutes, straight mutes, and
soft hats for the trumpeters and trombonists)
BARITONE SOLOIST

PERCUSSION: Timpani, Small Cymbal, Large Cymbal, Cymbals,
Triangle, Drums, and Harp

Strings

 

This piece opens with a rather heroic theme, some
motives of which are reminiscent of Richard Wagner,not
so much melodically, but strikingly so, rhythmically, thus:
Ex. 1

Reselueely (Jr-12) r—3—‘I
Clays. , r'-'1

 

£3

Calla: Brown

230

The tempo quickens to 0| = 80 at measure 5, the
orchestration thickens, and tremolo strings accompany

the theme already in progress, as follows:
- EX. 2

A little Fun: J=So

Ian . 51'9an
Celli y

 

Full orchestra has been reached at measure 13, and

motive "a" is extended, as follows:
EX. 3

‘ A

 

The orchestration gradually thins out, beginning
at measure 16, leaving only the upper strings playing

at measure 20.

The voice enters at measure 21. Here the tremolo

strings accompany, as follows:

EX. 4

For the dream un-Fin-ished out of which We. came,—

String:

3

\ _g

 

After the words, ”And the Nations Flame", the
orchestration thickens, and a steady buildup in intensity
is made in an interlude, in keeping with this dramatic

pronouncement.

232

A modulation is made to the E-maJor area. At measure
30 the voice re-enters, recalling our national heritage,
as follows:

Ex. 5

I151 -Iow:d
A

U

  

ea
A steady retardation is made at measure 39, during

which the orchestration thins out to leave the voice

singing "Our sky of Doubt", unaccompanied.

The signature changes to C maJor at measure 41, and
the tempo marking is 0‘= 72. Pizzicato strings and horns
play a march-like interlude for two measures, after which

the voice begins, ”We fear tyranny as our hidden enemy.":

See next page

 

233

I I

 

After the words, “No dark sings close the doors of
our speaking", a one-measure interlude gives emphasis

to this phrase.

A full-orchestra interlude begins at measure 55
in E-flat maJor, and continues through measure 72.
It is a slightly altered version of the introductory

material, as follows:

 

234

At measure 71 the signature changes to no sharps or
flats, the tempo quickens at measure 73, and the voice
begins with the words, “If we have hailed," accompanied
by strings, for three measures. An orchestral buildup
follows, thus: E,“ s

A little faster (. = 12)

    

If we have failed Lvnch-ings in Gcor gin,

At measure 78 the tempo accelerates after the voice

sings the word, "Chicago", as follows:-
9:. 9

 

235

At measure 79 the accompanimental rhythm is
smoother, and the tempo increases as the voice begins,
”Still a voice from the bruised and the battered

speaks out in the light.........", as follows:

El. 10

Faster 0:100)

    

bruICecl and the bet-cerecl speaks

VOICe From the.

The brasses enter at measure 83, giving great

emphasis to the words, ”Tell them again". The key
signature changes to three flats, the orchestration
and dynamic level increase steadily to appropriately
proclaim the words, "Till it splits their ears".

236

Here the rhythm is choppy, in keeping with the
distaste that results from "Lynchings in Georgia", and
all other atrocities that besiege our nation, as follows:

EX. 11

read Readily

 

302.223
This climatic dynamic level is sustained through

measure 105, where the voice ends on the word, "freedom".

At measure 111 the signature changes to one flat,
and the tempo slows to J = 72. Here the thematic
material of the introduction (example i) is presented
by the voice, "Resolutely", beginning with the words,

"This is the Land", as follows:

See next page

237

EX. 12

R “01111:er ‘= 72)

 
  

 

This_ is the and then and". jut-5'.
ETO

R .H. crisply;
Alla.

The accompaniment is march-like once more, and the
orchestration thickens through measure 129. Here the
trumpets punctuate the end of the phrase, "And the strength

of a hope”, as follows:

 

And the Stmgd-L of a

238

At measure 13? the orchestration has increased to

full force, following the words, "worked for", to pound

out the final words, "is living yet", broadly, as follows:
A A

EX- 14

 

At measure 11er the orchestra begins the postlude,
based on the motivic material of the introduction, thus:

Ex. 15

 

/—_\

I

Dr um: 7.

    

him? 31...];25

239

From a Lost Continent

 

1. ”Song of Worship" 3. "Song of Yearning

2. ”Song for Dancers” a. "Song of Magic"

In a conversation with William Grant Still in his
home on December 19, 1963, he mentioned this work with
great interest. He stated that his interest in the
legend of flu, the continent, said to have been engulfed
in the Pacific Ocean eons past, caused him to attempt this

imaginative concept of the music of that age.

The composer employs special syllables whose vowels
are assigned the Latin vowel sounds, thereby creating an
archaic feeling. These syllables connote no particular

meaning, but convey very admirably certain moods and

emotions.

 

"Song of Worship"
This piece has one flat in the signature, is in 4/#
time, and is marked moderately 9’:- 81+. The entire piece is

characterized by a constant rhythm in the accompaniment, _

240

i.e., .‘ J 0‘. After a four-measure introduction, the tenors

begin a pentatonic melody, as follows:
Ex. 1

.fiTe-A-Mc- ‘LD CO-UC

 

The basses answer with a motive which consi of a

drop of a fourth between measures 13-16.

The full chorus hums between measures 19-30, during
which time the sopranos sing the opening melody, as follows:

Ex. 2
I- To Me U Le

 

Ht . accompaniment nee shown

241

Between measures 33-36 the SOpranos, altos, and
tenors emit weird sounds, because of the closeness of the
harmony and pitches of the female voices, as follows:

Ex. 3

- Di A o B.‘ L.—

  

re- No .7: Pa

   

  

  

Here the polychords in the accompaniment are noteworthy?

Between measures 38-51 the opening melody, (measures
1-12), is repeated with the same accompaniment, but now
with the saprano and tenor voices doubling at the octave.

The same melody is repeated with four-part harmony,

softly, as follows:
Ex. 1+

P

I-To-A Me-Df—Ra Et°°

      

«catchment some as beginning piece.

21:2

The piece concludes with the chorus singing a lowJ-pitched
D minor chord in the voice parts, accompanied by a D minor
9th in the piano part, as follows:
Ex. 5

I' 2---------

14.-----”

 

21:3

”Song for Dancers”

This piece is in Mixolydian mode, although only one
flat appears in the signature. It is in 3/I+ meter, and
marked, "gaily" 0' = 132.

It is based entirely on the following themes:

THEME "A“ Ex. 6

Go -De La — Go,

    

 

 

 

 

 

Clapping ,
Gm" I I q. I I i I I I.
If *7 x x r- ! x n r' w w r- l
I J I H 1'! I
I II. I I I I I I I I I I I I I I I I I I I ' I___
I "I l I I I I I I I I I I I I II I I I I I I
L._.I_J_I—I—I L..I_I_I—L-I L-I-I—L—I-J
THEME ”B" Ex. 7

Sop. 4'. Also

    

Ni' ualeJla ~Te—Ta We -Ye-Gc

244

{Mm following chart illustrates the organization of

the piece:

MEASURE THEME
1-2 Introduction - gourd is
featured in eighth notes
3-6 Theme "A“
17-18 Interlude, essentially
same as introduction
19-29 Theme "A"
30-34 Same as measures l-2
and 17-18
35-46 Theme "B"
47-60 Theme "A"
61-69 Theme "A"
70-74 Interlude, based on the
introduction
75-82 Theme "A" fragmented in

coda.

21+ 5

L'Cong of Magic!
This piece has two flats in the signature, is in 4/4
I

time, and is marked, ”Moderately Slow",o = 76.

The soprano soloist opens with a Spanish-like chant,
following a twelve-measure introduction, which features a

polychordal accompaniment, as follows: E 8
x.

' canals-I. 1 Re A-x. Tc L. o; s. M.
luau,"
add.

6 -------_-----..

    

V
I

The above example is repeated after a one-measure
interlude. At measure 21 the time changes to 2/4,I = 116,

and the music is frantically exciting, as follows:

Ex. 9
Meas. 24)

 

. \Il‘ll'Il‘IIIIIIIIIJ-lIIIIlIIIII

246

This excitement subsides to a small degree when a
retardation, which is written into the music, occurs at

measure 33, as follows:
Ex. 10

(“0311‘ ’

Go .Me) Go dale, Go Add Ye

\

 

Measures 41-66 present no new material. The foregoing

examples illustrate the musical content here.

The time signature changes at measure 67 to 4/4,J= 84,

and the music is more stately, as follows:
Ex. 11

3'“; $1

 

Yo We-Ta ~Ri

247

The remainder of this piece is an expanded version
of measures 26-40. It ends with a forced shout from the

singers , as follows :

Ex. 12

 

248

"Song of Yearning"
This piece has four flats in the signature, is in
4/4 time, and marked "Plaintively", oIa 52.

It opens with a rather pleading six-measure intro-
duction in which a descending augmented second in the
top voice rounds off the component figures. The last
two measures of the introduction follow:

Ex. 13

 

The remainder of the piece is based on the following

themes: Ex. 14

—'§—" r.‘
Theme'

    

s vLu-Na-TI~DC~Ron-Di-

_MEASURE

7-12
13-18
19-24

25-28
29-30

31-35
36-41
u2-45

249

Ex. 15

Ron- Di-Mc, Te Le ome-Me. ETC.

 

The entire piece is conveniently illustrated as follows:

THEME
Theme "A"
Theme "A" (tenor solo)

Interlude, repeating introduction
material

Theme "B” (SATB)

Interlude, repeating introduction
material

Theme "A“ (Soprano and tenor 5011)

Theme "A" (SATB)

Postlude, based on introduction,

with definite F minor arpeggiation,
ending with a modal cadence in
key mentioned.

250

Caribbean Melodies

Melodies and lyrics for these songs were supplied
by Zora N. Hurston, who collected them on a visit to the
Caribbean Islands. During her stay there she collected
melodies and drum rhythms by listening carefully, then
repeating after the native singers until they were sure

that she had learned accurately. Mr. Still uses this

native material masterfully, preserving every iota of

its folk flavor, yet making the whole set of pieces

concertworthy.

The songs are so arranged as to present a cross-
section of the musical life of Haiti, Abaco Island,
Eleuthera Island, Fox Hill, Cat Island, Jamaica, B.W.I.,
and New Providence in the Bahamas. These songs are
accompanied by the piano, and have been designed for use

by vocal soloists in concert, by quartet, or by choruses

and/or dancers .

251

"Hand A' Bowl"
"Hand a' bowl, Knife a' throat; Hope a' tie me:
Hand a' bowl, Day a' light; Wango doe, doe,
Hand a' bowl, Eh, yeh!

Hand a' bowl, th'oat a' blood, Eebinan go,
Hand a' bowl.

Hand a' bowl, th'oat a' blood, Eebinan go,
Hand a' bowl,
Eebinango, Hand a' bowl, Hand a' bowl, Eh, yeh!

Hand a' bowl, Star a' light; Goat a' gloo, gloo,
Hand a' bowl Naked light, Dom Dahomey, Hand a' bowl.

Wango doe, doe, Hand a' bowl. Ing wah badoo,
Hand a' bowl. Eh, yeh! Hand a' bowl.

This Jamaican "voodoo chant" is in D minor, 4/4 meter,
and marked, "moderately“ .I. 80. It is scored for dancers
(optional), soprano, mezzo-soprano, tenor, and baritone

soli, chorus, large and small tom toms, and piano.

-fPhe chant opens with stark assurance, as the piano

and small tom tom speak in tribal manner, making use of the

interval of the fourth in both melody and harmony, as follows:
Ex. 1

SKILL
1DWJDM

PIANO

 

252

The mezzo-soprano soloist enters with the chant tune
at measure 4, accompanied by the chorus, the latter not
singing, but lending percussive support by. clapping their
hands and. patting their feet. Here the piano is used as a
percussion instrument, as follows:

Ex. 2

i

JELLO-3;} PRANO 33 .401 ST

       

>~I

‘

The baritone soloist enters at measure 8, singing the
same melody as in the above example. Here the women of the

chorus answer him with "Eh Yeh! ".

253

The full chorus enters at measure 12, singing, "Eh

Yeh!" in harmony, as follows:

Ex. 3
lat SOP ‘S

Eh, yeh!
' S

2nd

V
Eh, yeh! Eh, yeh!
ALTUS

Eh, yeh!

Eh, yehI

 

Eh, yeh! Eh, yeh! Eh, yeh!

(piano and percussion parts not shown)

A three-measure interlude, based on the introduction
follows in measures 14-16, leading to a restatement of the

chant tune, between measures 17 and 21. The participants

254

here are: the mezzo-soprano and baritone soloists in
'unison, accompanied by a new response-pattern by the

chorus, as follows:

Ex. 4

     

£131.30 ’34PRARU COLL) 1 3T

 

°ARITJLE SOLQIST

.4

WU LIE N

, tchgtcimatcha,

(f

255

The next restatement of the chant tune is made by the
quartet in four-part harmony, accompanied by the persistent

responses as outlined in the above example.

The quartet and chorus sing antiphonally between
measures 27 and 30, in four-part harmony, the latter singing
an altered version of the chant tune, as follows:

Ex. 5

Eh, yeh!
seamen 2. A

Eh, yeh!

Eh, yeh

Eh, yeh!___

S

BARI '1'.) :rss

 

256

Between measures 29 and 32 the sopranos and altos
sing the chant tune in unison, amid involved percussive
rhythms that are emitted from the piano, tom tom, handclapping,

and foot stamping. The piano and percussion parts follow:

Ex. 6

3MabL TO‘ T"

 

LARGE TOM-TOM

3

‘The climax begins at measure 34 when the saprano
and tenor soloists sing the responsive figure against
the fhfll chorus. Here the frenzied percussive sounds
provide a rhythmic counterpoint to the vocal parts.
This excitement continues through the final measure of

the piece. The following example sums up the writing

of the moment :

See next page

Eh, yeh. yeh: yeh’

Etc.

 

258

The percussion drops out at the third beat of measure

44, leaving the piano to end the piece on a sforzando, played

on the lower end of the keyboard.

 

"Peas and Rice”

An argument in the market place over the price of

pigeon peas and rice. The customer feels that the price

is too high. The shopkeeper pretends that he will throw
them away before he will sell them at the customer's

figure. He is dared to do so. A compromise is reached

after a long and heated dispute, and the customer buys

three quarts of peas and rice. Roland, a handsome young

man, is urged to ”roll it”, and the entire matter is danced

to clapping hands and stamping feet, and piano.

This Cat Island piece is in B-flat maJor, 2/4 meter, and
is marked, ”Lively”, 0‘: 104. The entire piece is twenty-

eight measures in length. It comprises a four-measure

introduction, as follows: Ex. 8

(1) m/ H H

 

Etc.

259

The women sing the verse, which is four measures
in length, as follows:
Ex. 9

Peas and ricel Throw it in de roadl Stand. one side!

Etc.

 

The refrain begins at measure 8, where the male

voices enter, as follows:

See next page

260

Make i‘t.three 1““! 3°11__ 1:., Ro-lendl

Roll____it, Ro-landl

tic.

 

The song is repeated as many times as desired, allowing

solo dancers, each in his turn, to introduce his dance.

A postlude concludes the piece. It is identical to
the introduction, except for the very last measure, which

ccnitains an implied tonic chord with an added sixth, thus:
Ex. 1

 

 

261
"Ah, La Sa Wu!"

This ancient African melody has no known English

equivalents for the words.

It is eighteen measures in length, in A minor,

4/4 meter, and marked, "Slowly" J = 60.

This chant is based on the four syllables in its
title, with gasping sounds always preceding the sigh,
”ah". The last four measures summarize the chant in its

entirety, as follows:
Ex. 12

 

3

a

 

 

Note: The lowest note for the second bass is great

00F" .

   

262

”Evalina"
(baritone solo and piano)

"Evelina, Evelina, you know your baby don't favor me.
Eh, Yeh! You know de baby don't favor me.

Evalina, Evelina, you know your baby got de one big
knee. Eh, yeh! You know de baby don't favor me.

Evelina, Evelina, you know your baby ain't
pretty like me. Eh, Yeh! You know your baby don't
favor me.

Evelina, Evalina, don't tell your mama it belongs
to me. Eh, yeh! You know your baby don't favor me.”

This humorous song depicts a brief but sultry love
affair. The young lady is now insisting that marriage time
is way overdue. The young man admits that a marriage really
ought to go on, but declines the responsibility in every
way he can.

"Evelina" is in D maJor, 4/4 meter, and marked,

"I‘llocierately".i = 80. The form is strophic, and nine measures

in length .

Its opening line is identical to that of the "Banana

Boat Song", made famous by Harry Belafonte, as follows:
Ex. 12

   

7"?
Very {meal/I25

 
 

263

Between measures 5 and 6 the soloist's capricious
”Eh, yeh'“ is matched by a playful figuration in the left
hand: a clear example of Still's ability to unite text
with accompaniment, as follows:

Ex. 14

by don't fa - vor me.—

 

This composition would make a very effective encore

piece. It is short and pleasingly humorous.

264

”Héla Grand Pere"

"gela grand pere eternel sin Joez
ela grand pere eternel sin Joe do co ague:

ela grand pere eternel sin nam min bon die
0 saint yen"

 

This Haitian chant is sung at the beginning of all
Rada ceremonies. It is eighteen measures in length, has

one flat in the signature, is in 4/4 meter, and marked,
“Slowly" J = 66 .

The chant tune is based on the pentatonic scale,
undergirded with nostalgic 7th and 9th chords in the
piano accompaniment. The following example typifies
the entire chant, which might be sung by a mezzo-

soprano or baritone soloist, or by unison chorus:

Ex. 15

 
  

He - 1a grand pere e - ter - nel

   
     
    

LARGE DRUM (1) 1»;

m.

     
 
   
 

310 wly (J :65

" / ' Etc.

ff

b)

265

“Carry Him Along"

"Massa, me no dead yet! Carry him along!

Eh, yeh, yeh! Carry him along!

Carry him if he's dead or live! Carry him along
Eh, yeh, yeh! Carry him along!

Carry him by his rusty hide! Carry him along!
Eh, yeh, yeh! Carry him along!

Me done buy my dress and veil! Carry him along
Eh, yeh, yeh! Carry him along!

Me done pay de funeral man! Carry him along
Eh, yeh, yeh! Carry him along!

//3 B:// Massa me no dead yet! Carry him along!

Eh, yeh, yeh! Carry him along!’ (repeat)

266

”Carry Him Along"

This humorous dance song is from New Providence.
It is arranged for soprano and tenor soloists, chorus,

dancers, small and large tom toms, and piano.

"Carry Him Along" is in F maJor, 4/4 meter, and

marked,"Moderately and Martial", eI= 84.

It bears close similarity to the old rondeaux, because
of the alternation between soloists and chorus, as well as

the internal repetition. The formal scheme follows:
1 2 3 1
Introduction- a A//:A://a//:A :// b B:// A (b

The following two-measure introduction typifies the
rhythm pattern which persists in the accompaniment

throughout the piece: Ex. 16

I " 1
3g: lfiggg-Tom. stems up: Lar e Tom-Tom, stems down.

 

   

fip

Etc.

k extreme or?!

267

The chorus responds to the tenor soloist (measure 3)

and the soprano soloist (measure 4), as follows:

Ex. 17

        

yeh! Car - ry him
yeh! Gar - ry him a long!

Q

     

- long!
- long!

  
 
 

long!
long!

    
        

Eh,

    

YOh: ry him longll
The chorus begins handclapping at measure 3. Here the
«clapping is on the weak half of each beat, continuing until
the last four measures of the piece.
The remainder of the piece may be seen by matching the
IVsllowing illustrations with the formal designation which

accompanies the poem above:
Ex. 18

Etc.

mas-ea me no dead yet!

 

268

Car-ry him a-long!

 

The concluding four measures follow. They are
labeled "b1" in the formal scheme illustrated above:
Ex. 20

fezarJ slower

razor}

 

Car-ry him a-long! Car-ry him a - long! Eh, yeh,yeh!

Car-ry him a-lcng! him a - long! Eh, yeh,
reIarJ

Car-ry him a-long! Car-ry him ICarry hnnalaglEh,yeh, yeh!

Oar-ry him a-long! Car-ry him e-longlCarry him e-long!
(piano and percussion not shown)

269

"Carry Him Along" is the answer to the desire of

many music educators who thirst for action songs. There
is much Opportunity for action-response, as well as
group involvement in playing rhythm instruments, which

have become so pOpular in the current programs of music
of our schools.

There are three essential reasons for commending this
song to music educators: (1) its folk—like melody is easy

to learn, (2) its verse-chorus design is easy for young

people to graSp, and (3) its rhythm is appealing and yet,

simple.

CHAPTER FIVE

-Stage Works-

270

271

STAGE WORKS

This author was happy to learn that Sahgl_, one of
Still's most interesting ballets, is now being prepared
tpr publication. This author was also sorry that this
work was not available for examination for the present
study. The works presented in this section, however,

sufficently reflect the range and scope of Still's output

in this medium.

It is unfortunate that none of the operas have

been published, and except for Highway Number One,

were not available for examination and discussion in

this study.

272

Lenox Avenue

nggg.Avenue was composed in 1938. It was
originally included in a series of ten orchestral episodes
with fhnale, for orchestra, chorus, and announcer,based on
scenes Still had witnessed in Harlem. The narration was
written by Verna Arvey, Still's wife. This work represents
the first attempt by any composer to combine music and

narration in a single work, specifically for a radio audience.

L232; Avenue was later converted into a ballet, and
the premiere was given by the Dance Theatre Group in
Los Angeles in May of 1939. Norma Gould wrote the
choreography, and Charles Teske danced the leading role

of "The Man From Down South".

The Theme Committee for the New York World's Fair
of 1939 wished to find a truly American composer to write
the theme music for the Fair. This committee heard
runw—commercial recordings of all the leading American
cxmnposers at a large New York broadcasting studio, without
the names of these composers being revealed. They
narrowed their selection to two works, Lenox Avenue

and. A Deserted Plantation, both by William Grant Still.

273

Still was thus selected to compose the six-minute
musical background for the City of Tomorrow in the

Theme Center.

-Syn0psis-

A drunken man from the South brings one dollar
to spend in Harlem. He loses it to a young man in a
crap game. The latter's sweetheart covets it, and later
turns out to be the wife of another. A fight ensues,
and the law ends the argument. Two boys compete for
the dollar, but lose to the man from the South, who

A

outwdances them. The Philosopher speaks against dissipation.
Sounds emerge from a Mission nearby, then a rent party,

and later a street orator. Finally, the voices of

those who seek salvation and those who want pleasure

combine in the sound of "Lenox Avenue".

The Man from Down South observes all of this, being
‘tempted by everything, but remains undecided about his
dollar. Finally, he falls asleep on the curb of

WLenox Avenue."

271;

Characters

PEDESTRIANS

THE THREE CRAPSHOOTERS (one is the Lover)
THE MAN FROM DOWN SOUTH

THE GIRL

HER HUSBAND

TWO BOYS

THE OFFICER

THE OLD MAN

THE MINISTER AND CONGREGATION OF THE MISSION
THE PIANIST (who pantomines playing the piano)
THE PATRONS OF THE HOUSE RENT PARTY

THE ORATOR

THE PATRONS OF THE NIGHT CLUB

 

Lenox Avenue (choreOgraphic street scenes)
Dancers, Chorus, and Piano

This ballet cpens with three flats in the signature,
4/4 meter, and is marked, ”lively" ‘J = 116.

The first scene is the crap game, which commences
at measure 1, and runs through measure 42. Here the
three Crapshooters, one of whom is the Lover, dance in
exaggerated movements, showing in their grimaces the
vagaries of fortune. The accompanying piano depicts
the rolling of dice by the downward accented leap in
the left hand, as follows:

See next page

275

Ex. 1

’"I’

 

The Man From Down South enters the picture next.
He is dressed in poor taste, amusingly tipsy, and
obviously out to have a good time. The music which
follows accompanies his entry:

Ex. 2

 

276

He is ignored at first, but when the Crapshooters
see his dollar bill, they are eager to have him Join
the game. At this point the music becomes downright
bluesy. It is the most authentic ”blues" writing to be

found in Still's works, as follows:

Ex. 3

 

The southern gentleman loses his money, and his

sadness is depicted in more bluesy writing, as above.

The entry of an attractive girl at measure 43
opens the second scene. She is wooed by the winner of

the southern gentleman's dollar, and responds with

277

affectionate gestures. The following music accompanies
the sentimental dance which they perform:

Ex. 4

Moderate! (#75) "

    

M/ r4171: ciprc _II.

b

The music here is smoother, with some strains

being reminiscent of Still's impressionistic piano piece,

"Summerland". This tender act concludes the second scene

at measure 109.

The third scene opens at measure 110 with the entry
of the attractive girl's husband, who has seen her with
the IADVer in the above tender act. He rushes up to her,
seizes her shoulder roughly, and begins to rush her until
the Ixyver Jerks the Husband's hand from her shoulder, and

the fightis on!

278

The crowd gathers. A Policeman finally appears
to break up the fight. The following music accompanies

the excitement:
Ex. 5

Excite“, 0:129

    

/

After the arrest has been made, the two remaining

Crapshooters come close to having another brawl over

the dollar which the lover has dropped in the scuffle.
.After a brief dispute, they decide to dance for it, and
the}: neither would claim it until he had won it fairly.
They dance alternately between measures 166 and 209,
‘theri, together, beginning with measure 110. The following

music accompanies:

See next page

279

 

The applause of the onlookers determines who will receive
the dollar bill. The award is about to be made when the
Man From Down South pushes his way into the crowd to
declare himself a contestant. This brings forth incessant
laughter from the spectators, depicted as follows in the

accompaniment:

 

280

He begins his dance in an uncertain and tipsy
manner, amid increasing laughter. The music at this
point recalls the “scherzo” of the Afro-American Symphgny;
It is in swinging style, and has all the characteristics
of a camp meeting song, which is accompanied by handclapping
and footpatting, as follows:

Ex. 8

Swinging slang 0:11") /._\

37/ Hz c 8 2n: W]

 

This dance ends at measure 286. It is interrupted by a

man in the crowd of spectators, who takes the dollar bill
from the Boys and presents it to the Man From Down South,

after being so moved by his dancing.

The next scene begins at measure 298. Here the

Old.rdan lectures to the Man From Down South on the evils

of alcohol. He tells him that he is a disgrace to his

race:, and points out many upstanding colored people with

281

whom he is in striking contrast. This lecture is for
rmnght,:nevertheless, since the Man From Down South yawns
at its conclusion, and searches his pockets for the
phasing whiskey bottle. The following excerpt shows
the music played during this scene:

Ex. 9

(’7;1 (§"“\\ /,_.

J.

 

7‘ 1’4? [5'

The next scene begins at measure 341. Here the
Man From Down South is attracted to the Mission by
singing, and goes up to the window to look in on the
service. Dancing for the scene is accompanied by the
singing of a spiritual by the chorus, which accompanies

the offering being received, as follows:'

See next page

282

Ex. 10

that. La Lav-i has do;.e I"; ...e-

a shsut what :a semi has doze ”

I : Lam-ma shalt what 1a Lava

I

 

.___- I'm flog-ma shout what ma Lewd has do fo' me-

(piano accompaniment not shown)

The Man From Down South is not impressed by the prayer
of thanks for the offering, and on hearing the piano from a
nearby apartment house, wherein a rent party is in session,
leaves the mission. This is the music he hears:

Ex. 11

 

283

The next scene begins at measure 468. The Man
From Down South decides to enter the apartment house,
but is attracted by the sound of the Orator, who has
begun to harangue the crowd that has gathered. The Orator
is heckled by the Man From Down South, and the former
becomes very angry, and is finally carried away on the
shoulders of his sycophants, still talking. The right
hand carries the music depicting the promenade, while the
left hand approximates his oration as he is carried away,

as follows:
Ex. 12

>‘J

 

The final scene focuses on the Mission where "Lost
Souls" are now going up to the mourners' bench. The Man
Frou1JDown South is once more attracted to the window of
the ldission, trying to decide whether or not he should go
in. [hiring this time the congregation hums a mournful

tune, as follows:

See next page

284

Ex. 13

 

 

Tenors

(piano accompaniment, tenor, and bass parts not shown)

The Man From Down South's attention is once
more divided, as the orchestra at the Club Creole
accompanies hilarious dancing. He wants to go in, but
can't fully make up his mind. He finally turns away in
disgust, and crams the greenback into his pocket.
He then curls up and goes to sleep. The Policemen makes
as though to prod him with his foot, changes his mind,
shrugs his shoulders, and walks away as the curtain descends.
The congregation sings during all this time, and concludes

with "Have muhcy Lawd on ma Soul", the last three measures

of the composition follow:

See next page

285

Ex. 14

L——— ..
I

Curtain

 

286

Highway Number One

This one-act opera was premiered on May 11, 1963,
during the University of Miami Annual Festival of

American Music. _Fabien Sevitzky was conductor.

Highway Number One is scored for the following

instruments:

WOODWINDS: 2 Flutes, 2 Oboes, English Horn, 3 Clarinets
in B-flat, Bass Clarinet, and 2 Bassoons

BRASS: 4 Horns in F, 3 Trumpets in B-flat, 2
Trombones, and Tuba

PERCUSSION: Timpani, Small Cymbal, Snare Drum,
and Bass Drum ‘

STRINGS

~Characters-
MARY, Soprano Bob's wife

BOB, Baritone Proprietor of
filling station

NATE, Tenor Bob's brother
AUNT LOU, Mezzo-soprano An old woman
THE SHERIFF, Bass

THE DOCTOR

MEMBERS OF CHURCH COMMITTEE Ensemble
AND TOWNSPEOPLE

287

-Synopsis-

In the United States, HIGHWAY I runs from the
North to the South. Driving along it, one can see
stretches of picturesque countryside, occasionally
homes of the rich or the poor, and can frequently pass
through cities or villages. And, while driving
along HIGHWAY I, one may also stop at a filling station,
such as the one owned by Bob and Mary, never suspecting

the drama that dwells within it.

It is in Just such a filling station that Bob
earns a living for himself and his wife, Mary, charitably
using the profits to educate his younger brother, Nate,
according to the promise he had made to his mother on
her deathbed. To do this, he and Mary have made many
sacrifices. Now, Nate is about to graduate from
college. Bob is going to attend the graduation, while
Mary, (accompanied by an elderly next-door neighbor,
.Aunt Lou), stays behind to take care of the business.
Dhary is Joyful, believing that Nate's graduation means
‘the end of their sacrifices and the beginning of a new
Ilife. She is taken aback when Bob tells her that they

unist continue to support Nate until he makes a place for

288

himself in the world. After the church committee has
come to felicitate Bob and has gone with him to the
railroad station, Mary tells Aunt Lou of her hatred for
Nate and all he has made them suffer and deny themselves.

She vows to find a way to make Nate reveal himself as the

ingrate he really is.

After a year of laziness and scorn for the honest

peOple around him, Nate has not yet found an outlet for
He lives with Bob and Mary and contributes

In fact,

his talents.

absolutely nothing to the welfare of the home.

he sleeps while they work. Mary has chosen the method

of being sweetly sarcastic to Nate. At the breakfast

table, it is apparent that Bob has begun to be aware of

the truth behind her barbed remarks. When Nate comes for

his breakfast, he is revealed as an egotistical, neurotic,

stupid individual, who mistakes Mary's sarcasm for

flattery, and makes passionate love to her. She responds

'by laughing at him, scorns him for his weakness, and

re-affirms her love for Bob. Enraged, Nate seizes a knife

from.t&u3 table and stabs her. When she screams, Bob and

Aunt.Ixn1 rush in, the latter immediately going for the

289

Sheriff and the Doctor. Bob, believing Mary dead and
still trying to shield his brother, takes the blame.

When the Sheriff is about to handcuff him, Mary regains
consciousness and cries out that Nate is the culprit.

As he is being taken away, Hate cravenly begs Bob to save
him. Bob falls on his knees at Mary's side with the

cry that at last he understands and that the future will

be brighter for both of them.

And so, in one of the homes along HIGHWAY I, a
drama has been enacted and resolved. No matter whether
those of us who drive by know what happened there; it is
enough that we buy our gasoline, go on our way, and let

‘BCRD and Mary live the life they want to live together.

 

The very superficial description of the work which
kaLlows is made under the unfortunate inavailability of
time score, which is now being prepared by the composer

:foxfjpublication. Only the high points in the Opera are

illustrated.

 

.103000

* " -:- Me on _ if

at 11

all on: g,

....

;... -3

‘15

vud 9".

1H

{3 vaI

p

 

J.

 

 

 

 

-anUI Eir"

thu ahsfi’:

31"“

 

 

v

 

 

 

      

 

i...
a. H
’1‘ ll ill, !Jhlilul

y: '1 Ill» 4...»
u T. w u

x

K i ll
i a -
v a- .u
D I ll.

290

A four-measure introduction, on which the entire work
is based, leads to a comical melody, sung by Mary as she

prepares Bob's lunch, as follows: Ex.1

 

The Comical Melody:

Ex. 2
Mary F,‘

His—tor for, he, ngc a stalk -in’
A ‘
c:
J A

,4

R czar-d ...... 0 05¢; ] ”7}?" I ha:
a I

lo . Ram-......
I"! - _-n"~

 

291

Bob's first line in the work is sung in a recitativo,
as follows: _ Ex. 3

"‘ ' Bob

’Ayou Put. the - Broom He - r3

 

V
The ensemble sings the following chorus in praise to

Bob and Mary:

EX. 4

    
  

      

  

Th ' h-Lors

'1': our

“fetid: i h.

       
    

AM. not “in“.

 

 

 

 

 

 

 

 

292

Nate tries to lure Mary away from Bob, as follows:
Ex. 5

I love. you,:zmé I know you love. me.

|

 

Aunt Lou sings in dialogue with Mary. Here the

former is concerned with Mary's sadness, as follows:

EX. 6

Ma-ry you’re tron-Hal, are- Mr. you ?

that

 

293

Mary is stabbed by Nate, and the following music

dramatizes this act:

EL 7

 

The Sheriff arrives on the scene and sings the

following: [:3 I: ' ‘ ‘ l l I

v
'l' r»!

 

 

 

 

Ll IL L i I 1 i\ A l - 1
LJ I {I l U l I ll 1' l I
C ’ ' l 9 I
Am Lou tell: he Ma-ry’s and.
J=100

 

The work closes with a postlude which is essentially

the same as the introductory music.

This description makes no mention of orchestration
because the score examined was a piano reduction of the

orchestra score.

CHAPTER SIX

-Summary-

294

 

 

, '2 ‘I in???

 

 

 

 

295

SUMMARY

The whole key to Still's style is melody. In a
recent conversation with this composer, he asserted
that his first love is opera. Only a cursory examination
of his works will show that his style is indubitably
lyrical, and this supports his assertion as to his first

love.

Still's melodies are Negroid. The rich catalogue
of Negro folk melodies has tempted many a composer simply
to quote gems from this source, without due regard for
their inherent musicality, or even, appropriateness in
the arena of temporal art. Not so for Still! He never

has quoted a tune verbatim, Negro or otherwise!

Still made it a point not to arrange Spirituals,
except when he was required to do so in his commercial
arranging. These arrangements are unique, because they
contain characteristic Stillian harmonies. Still believes
that the usual, conventional arrangement robs the spiritual

of its folk flavor.

It follows, then, that Still creates his own melodies,
*paying particular attention to suitability and smooth contour.

‘The Afro-American Symphony_best illustrates his aversion for

 

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296

merely copying folk melodies, and his concern for suitability-
placing a melody in proper prospective and context, ultimately

achieving excellent depiction of mood and emotion.

The first movement of this work is labeled ”Longing".
An original ”blues" theme depicts this emotional state
admirably. It is a full-fledged "blues" theme, with its
flatted 7th and 3rd, and characteristic sad minor-3rd
drops. Notable, too, is the harmonic substructure suggested

by the melody, as follows:

Phrase ”a“ Phrase "b” Phrase ”c"
Chords: Chords: Chords:
I - I? - I IV - V - I V - V - I
7 7 7 7

This is the harmonic substructure for W.C. Handy's
"St. Louis Blues", and for any other ”blues" melody one

might examine.

The second theme of this same movement has its
share of folk-like vestment, mainly because of the
descending major 2nd, followed by a minor 3rd. This melodic
figure is found in most of the Negro Spirituals. For
instance, "Swing Low, Sweet Chariot," "Roll Jordan, Roll”,
"Steal Away”, "Go Tell it on the Mountain", and countless.
others. This same figure permeates the Stillian melodies

which he molds with utmost care.

 

l ‘ 2
See Ex.1., p. 48 See Ex.7’, tp.51

297

We turn next to the second movement of the gigg;
American Symphony, which is labeled "Sorrow". Its
main theme is based on the "blues" scale, and more
specifically, on the main theme of the first movement.
Here the sweet-bitter effect, occasioned by the fluctuating
major and minor third ( A to A-flat) leaves the listener
all but comfortless. A compensation for this siege of
sorrow strongly asserts itself in the third movement,
which is labeled "Humor". It is here that Still as a
melodist, with utilitarian virtues, is well illustrated.
The ”blues” scale, hitherto employed, is now cast aside,
and a brighter "gapped" scale is used to generate humor

3
The "blues" quality is less evident mainly

and Jubilation.
because of (1) absence of the flatted 3rd and 7th scale
degrees, and (2) the upward sweep of the melodic curve,

which suggests a happier state of affairs.

The utilitarian virtue of this great composer is
further exemplified in this movement through his remarkable
feat of melodic verbalization of Dunbar's line - "An' we'll
shout ouah halleluyah, On dat mighty reck'nin day,” which

was mentioned previously.

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298

The last movement of this same work further illustrates
the above mentioned virtue. It is titled "Aspiration” -
a foreboding for a brighter day of an Oppressed people.
Here the main theme has an upward swing in its curve, and is
devoid of the "blues" intervals, however somber and dirgeful
it may seem to the listener. Its pentatonic modality

doubtless makes it a deft example of folk-like expression.

Still is doubtless a melodist, steeped in the folk
tradition, but imbued with creative intellect and ability
for translating literary symbols into meaning, sometimes,

uttering more than was intended for them to say.

It should be pointed out that even though Still's
style is definitely Negroid, some of his melodies are
cosmopolitan. This exception to the rule is best illustrated
through random selection of works already discussed in this
study, such as:

1. To You, America (chorale melody)

 

2. vmphogy in 9 Minor (movement two, subject 2)

3. Symphony i. 9 Minor (movement four, main theme)

 

The Chorale Melody in 23 You, America could well
have been the national air of almost any country from

the Orient to the Occident. It uses a pentatonic melody,

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299

and the pentatonic is the prototype of all scales. The second
subject of the Sygphony in,§_ugpgg, second movement, uses

the Gypsy scale, with its flatted fifth. The main theme

of the fourth movement of this same symphony contains a

smooth and lyrical quality that would touch the hardest heart.

Moreover, in the pieces for piano we note the Scriabin-
and Debussy-like melodies already discussed. The Broadway
stage composers are brought to mind in the pieces such as:
prising Tide", ”Leno: Avenue", and ”And They Lynched him

on a Tree", etc.

This writer remarked to Dr. Still in a recent conversation
that he rarely repeated a melody in its original form.
He agreed, and asserted that repetition is worthless, except
for the purpose of emphasis. We thus see in this man's works
a continual spinning out of melodic materials that seem.to
become more and more revealing in inherent significance,
each time they reappear. This feat of melodic metamorphosis
precludes the act of merely quoting folk melodies. As a
result of this preclusion, Still's style is greatly endowed
with soul and depth._ He toils under spiritual motivation.

Soul and depth are virtues that are not easy to attain.

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300

Still feels that, even today, one can create new melodies.
He keeps a sketchbook, which contains hundreds of melodies
that may be altered several times before they are used,

if they are used at all. The main criterion for their
being used is intelligibility - their worth in speaking
to the listener in lucid, concise, and meaningful terms;
in such blessed terms that will make people's lives more
enriched, and ultimately create an epidemic of love,
understanding, and brotherhood. This may seem highly.
pretentious, but it is the sincere hope and creed of this
great composer, as he expressed it during a recent

conversation with this writer.

Finally, as regards Still's melodies, it would be well
to have him speak on these pages in the profound and
convincing way he spoke to this writer on the subject of

melody: "The development of thematic material is of
great importance to musical architecture. Take,
for instance, the process of extending a motive into
a phrase. This should be a spiritual rather than
a mental process. Composers, who work only with the
conscious mind, have difficulty in working out a
melody. Others, guided by inspiration, find it
difficult to select from the many that are suitable.
One might say that the motive dictates its own
development, its own treatment and even its own
form. Form follows function, say the architects.
That is true of music as of the other arts."

 

 

 

 

 

   
  
   
    
  

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301

Harmony plays a key role in regard to Still's style.
The fact that the "blues” scale is used frequently in his
‘ music makes it totally impossible for one to conceive of
any harmony other than that of the ”blues-chord“ type.

The basic ”blues“ chords are: I (1+6), IV, and V.
The seventh chords are of the dominant seventh type.7
It is, however, characteristic for a seventh chord, or
even, a triad, in the ”blues" idiom to fluctuate between
major and minor qualities, by mutation of the chord third.
It really amounts to a free interchange between maJor and

minor modes.

Sometimes we see in Still's music superimposed thirds

that give the chord the sound of a polychord, for example:

 

 

 

 

 

 

 

 

 

 

In the above chord the ”E" and "Eb” compete for
the major and minor qualities. 'This chord is of mild

dissonance, and is a typical one of Still.

 

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302

He loves the sound of the widely spaced maJor- minor-third

clash, and many times cadences on such a harmonic structure.

Still uses no academic approach to harmony, pg;,§g.
He holds that this limits the composer too much, and that
codification nurtures pointless imitation, which requires
very little creative effort on the part of the composer
so affected. This, he feels, causes the music of several

composers to be unduely similar, and often identical!

This writer asked Still to analyze a certain chord in
the Afro-American Symphony. He looked at the chord and
said, ”I frankly don't know what one might call that
chord". He went on to give possible labelings for the
chord, which indicates that he has learned well the academic
approach to harmony, but sees no need to adhere to set

principles of writing.

Concerning this same chord, he admonished: "Thatt
combination of notes sounds well,doesn't; it?“ And this
is the key to his harmonies - how well tonal combinations

sound together.

It must be pointed out that this great composer sees

no value in improvising at the keyboard, because this can

 

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303

only reflect one's chord and melodic habit, gleaned from
one's vocabulary, however limited or resourceful. However,
Still turns to the piano when in doubt about certain ideas

he anticipates using.

An interesting characteristic of Still's harmony
results from what could be called tonal dichotomy. This.
trademark pervades some of the compositions discussed
previously, in which tonal dichotomy is the result of
Still's high regard for the independence of the melodic line.
It also emerges from the practice of this composer to
harmonize by "ear". In regard to the former, this composer
has refrained from writing fugues, canons, passacaglias,
chaconnes, etc., which require real or tonal imitations,
according to an established system. One, therefore, finds
polychords, (but never too dissonant), and two or more
tonal planes. The melodic planes manifest themselves in
the spelling they assume, as they seek to follow the best
logic, horizontally. This type of writing is best seen in

the Seven Traceries, already discussed.

Almost alone among contemporary composers, William
Grant Still has had the courage to reject the experimental,

cacophonous style, which is generally called "modern music”.

 

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304

He feels that dissonance is useful for specific occasions,
but should be employed in moderate, good taste, and further,
should be counterbalanced with more pleasing consonances,
in the interest of tonal stability and emotional balance,

that the listener must import from the musical experience.

Finally, Still feels that when the composer sets out
to write music on the basis of preconceived, scientific
ideas, something invariably goes wrong. If the counterpoint
is smooth, the melody will be imperfect, and so forth.
The end result may be correct, but entirely lacking in
spiritual content. Still asserts that in music one must

think:more of what is to be said than how it is to be said.

Many people, attracted by the current frantic rush
to discover new horizons in music, seem to think that
Imisical form and logic are things of the past. They
'believe that in order to compose, one need only find a
:few bizarre harmonies, string them together, without
thought of melody, form or sequence, and emerge with a
'Nxmnposition” that will bring them acclaim. Still believes
tflnat nothing could be farther from the truth than this notion.
Eh3.abhors this notion by continuing to compose according

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works shows that he employs h/b meter almost without

exception.

305

Still shows conservatism in another aspect of his

WORK

1. Symphony in 9 Minor

 

Afro-American Symphony

"In Memoriam"
”Darker America"

Symphony_Number Four

MOVEMENT

I
II
III
IV

I
II
III

IV

I
II
III

IV

4/4
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4/4
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An examination of representative symphonic

The following table illustrates this point:
TIME SIGNATURE
12/8

(12/8

There occurs only one example of changing and/or

‘mixing of meters in the representative orchestral works,

viz., a change from h/# meter in measure 86 to 5/4 in

measure 87 in "Darker America".

their numerators are nonexistent in Still's works.

Meters having 7 and 9 as

   

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306

He feels that such devices as changing meters, borrowed
rhythmic divisions, and asymmetrical phrasing are not
useful in his style. ‘ I

Since Still's music is basically Negroid, one naturally
finds copious examples of syncopation and accentuation

on theunormally weak beats, or pulses.

The following table summarizes the basic rhythmic
figures that comprise the works discussed in this study:
WORK RHYTHMIC FIGURE

1. Symphony Four
Subject 1, Mvt. I

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Afro-American Symphony 1. e .\.aO - 0

Subject 1’ MVte’ IV

”In Memoriam'

 

 

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2. S hon Four \ \
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Subject 1, altered 3. C ‘1 J‘ J .P J.

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307

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Theme 2, Mvt. II

 

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Theme 1, Mvt. III

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Theme 2, Mvt. III

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Theme 1, Mvt. I

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Accompaniment to Main
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”Darker America"
"American Negro Theme"

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Main Theme, Mvt I

 

 

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308

One sees that only three of these thirteen samples
of Still's rhythmic figures are not syncopated. The
conclusion is, then, that the majority of the rhythmic
patterns employed in this composer's works are of the
syncopated variety. One could further conclude, perhaps,
that the rather limited rhythmic vocabulary, and consistent
adherence to the four-beat bar of Still, render his music
monotonous. This is not sol. Monotony is averted through
the constant use of (1) sync0pation, (2) phrasing,
without barline restriction, and (3) melodic and rhythmic
transformations. It is through these transformations

that unity in this style is achieved.

William Grant Still holds that there is a lesson for
all of us in the simple ternary design, which, he feels, was
known to peasant musicians long before the classicists.
analyzed it and put it into the textbooks. He states
that the classic masters believed that they had to
hammer away at a theme in order to drive it into people's
consciousness. With this principle, he heartily agrees,
but believes that exact repetitions are of no use. He,
therefore, prefers shorter themes than those employed by

his forebears, and repeats these very often, with alterations.

In a recent conversation Still outlined his experience

in the act of composing, as follows:

 

 

   

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309

First, a motif or germ is conceived. The composer
proceeds immediately to plan his form in detail. Then,
perhaps, revisions are made, subjecting the germ idea to
variations. He deliberately works away from the proposed
plan, the deviation being in direct proportion to the
number of variations the germ idea can undergo. Sometimes
what has been planned as a mere episode may assume such
importance that it ceases to be an episode at all.
Transitions may be shortened, lengthened, or discarded
altogether. The whole point is to have everything fit
into the overall formal plan so naturally that if the
least important motive or figure were removed, the form
of the total composition would be disturbed. This plan
is followed by Still religiously! This is his mode of
Operation in the pursuit of formal balance and monumental

architecture in a world of music.

His designs are traditional. All of the symphonies
are cast in sonata form, and the remainder of his works
are close enough, or else embrace the ternary (episodic)
idea. Within the framework of the above stated formal
‘tendencies, Still's {3522, as to technic, is the ability

‘to vary his basic motives, or germ ideas.

It has been justly said of some composers that they

310

are merely skilful orchestrators, but are creatively
infertile. This can be shown when their works are reduced
to a bare minimum. This is not true of William Grant Still.
Though his orchestral works are not as effective in a

piano reduction as in the original scoring, they yet

retain that harmonic piquancy and thematic originality

that are distinctly his own.

Some people lament over the exhausted orchestral
resources the contemporary composer faces! Still
disagrees with that belief. His trouble lies in making
a decision between so many fascinating orchestral

possibilities he has at his command.

He states that when he first began to orchestrate,
he imitated others, but always tried to choose the best
to imitate, not those who were too individual, so that
he would not acquire mannerisms. As soon as possible
he broke away, and began to experiment with different
orchestral effects on his own, so that he would have a
greater fund of knowledge at his command. To his
amazement, he found that many effects which were strictly
forbidden by pedantic theorists were really quite effective
and.were, when used with modifications and with regard to.

the limitations of the various instruments, most fascinating..

311

He thus learned that everything is possible when approached
in the right way. Now he never accepts statements about
impossible instrumental combinations, without first trying

them out.

Still adheres to a rather simple style that nets the
best and most effective results in orchestration. His
orchestration is so carefully worked out that if the exact
combination for which he has scored is not available, the
music sounds wrong. A good example of this is the use of
the banjo in the third movement of the Afro-American Symphony.
This writer asked him if he had run into trouble in finding
a banjo player who was musician enough to play with a
symphony orchestra. He said that this had not happened
as yet, and that the entire mood and effect of the
intended orchestration would be lost if this should ever

be the case, even though the banjo is not very prominent.

Still's orchestration is well balanced. This is why
his music sounds only half as "jazzy” as it looks on paper.
Imbalance in an orchestra that is to play his music
results in the music sounding like plain, unadulterated "jazz”.

This does not represent Still's intention in the least!

 

 

 

 

312

The following diagram illustrates some particularly

characteristic orchestral devices of Still:

1.

5.
6.
7.
8.
9.
10.

INSTRUMENTS

 

Flute and
Bass Clarinet

Trumpet

Trumpet

Banjo

Trombone
Timpani
Xylophone
Vibraphone
Violins I & II
Viola

COMPOSITION

Dismal Swamp

Qigmgl Swamp

Dismal Swamp

Afro-American
Sxmhonx

lp’Memoriam

 

Poem for
Orchestpa

DEVICE PAGE BAH
glissandi 12 1
"Ray Robinson 19 4
Mute” 9 6
”Hat over Bell 7 11

"In ordinary Third Movement
manner”

"Hat over Bell" 12 (9) 3
soft sticks

soft sticks 19 l (21)
soft sticks 11 1
multiple divisi 2 2
multiple divisi 21 2 (11)

313

There are many rests in Still's scores. He believes
that one of the secrets of good orchestration is to know
what to leave out, and when! Only the beginner, he says,
uses all the instruments constantly, just because they

are available.

One notes the use of harp, celesta, and piano in
many of Still's works. He feels that one must choose the
instrument that best portrays the desired mood, and that
one must have an intimate acquaintance with all the
instruments. He believes in what he calls "nude" orchestration,
in which the accompaniment is clearly subordinated to the

melody.

Still's perception of the sound of certain instrumental
combinations is so acute that he can tell from a score
the actual sound of the music. He states that this sense
is equivalent to so-called "absolute pitch", which amounts

to an acute memory for tone relationships.

Still's typical orchestration calls for a large
group of performers, many of whom must double on another
instrument. He treats this limitless resource in much
the same way as an organist would treat a mammoth pipe

organ, with all its tonal possibilities: he judiciously

314

selects from the great resource, employing a flute
simply because only it can say what needs to be said
in the tone of voice desired; only an oboe, because it
can suggest ”Longing"; only trumpets because they can

suggest "Hope”, triumph, or martiality.

Summarily, this great composer is utilitarian, not
only as regards melody, harmony, rhythm, form or texture,
and orchestration, but in the entire sphere of musical
expression. He believes that music is a universal
language, which should speak to all nations and peoples
in a cosmic dialect that is intelligible and palatable to
all who will listen. He believes, further, that the
therapeutic value of his music, and that of others, can
go far in developing and sustaining a world community of

peace and love.

 

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10.

ll.

12.

13.

14.

BIBLIOGRAPHY
Arvey, Verna, ChoreOgraphic Music
Dutton, New York, N.Y., 1951

Studies of Contempora_y American Composers
J. Fischer and Bros., New York, N. Y., 1939

Bagar and Biancolli, The goncert Companion
McGraw-Hill, New York, N.Y., 19E?

Bardolph, Richard, The Negrg_Vanguard
Random House, New York, N.Y., 1915

Barlow and Morgenstern, A Dictionary_of Musical Themes
Crown Publishers, Inc., New York, N. Y., 1958

Beaumont, Cyril, Complete Book of Ballets
Grosset and Dunlap Co., New York, N. Y., 1938

Brawley, Benjamin, Negro Genius
The Dodd Mead Co., New York, N.Y., 1937

Chase, Gilbert, America's Music From the Pilgrimst he
Present, McGraw'Hill, New York, N.Y., 1955

Cowell, Henry, American Composers on American Music
Stanford University Press, Stanford, California, 1933

Cuney-Hare, Maude, Negro Composers and Their Music
The Associated Publishers, Washington, D.C., 1936

Deakin, Irving, Ballet Profile
C. C. Nelson Co., Toronto, Canada, 1956

Embree, Edwin R., Thirteen Against the Odds
Viking Press, New York, N. Y., l9h5

Ewen, David, Composers of Today
H.W. Wilson Co., New York, N. Y., 1934

 

Grout, Donald, A,History pg Western Music
Norton, New York, N.Y., l9 0

315

 

 

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316

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Bibliography
15. Goss, Madeleine, Modern Music Makers
E.R. Dutton and Co., New York, N.Y., 1952
16. Handy, W. C., Father Lf the Blues
The MacMillan Co., New York, N. Y., 19M“
17. Howard, John T., Sontempgrapyggpmposers, Our
Thomas Crowell Co., New York, N.Y., 1948
18. Our American Music
Thomas Crowell Co., New York, N.Y., i9b6
19. Hughes, Langston, Famou§_Negrp Music Makers
Dodd, Mead and Co., New York, N.Y., 1955
20. Kaufmann, Helen L., The Story Lf One Hundred Great Composers
Grosset and Dunlap, New York, N. Y., *19h0
21. Kaufman, Schima, EverybgdyLs Music
Thomas Crowell, New York, N.Y., 1938
22. Locke, Alain, The Negro and His Music
Associates in Negro Folk Education, Washington, D. C., 1936
23. Machlis, Joseph, Introduction to Contemporary_Music
Norton, New York, N. Y., 1961—
24. Oderigo, Nestor R., Panorama de la Musica Afro-emericana
Claridad, Buenos Aires, 1945.-
25. OSgood, Henry, So This is Jazz
Little Brown and Co., Boston, Mass., 1926
26. Pisk, Paul, A History Lf Music and Musical Style
Harcourt, Brace and World, Inc., New York, N. Y., 1963
27. Read, Gardner, A Thesaurus pg Orchestral Devices
Pitman Publishers, Inc., New York, N.Y., 1953
28. Reis, Claire, Composers, Conductors and Critics

 

 

The Macmillan Co., New York, N.Y., 193

 

 

 

 

317

 

 

 

 

 

 

Bibliography
29. Salazar, Adolfo, Music Ln our Time
W. W. Norton Co., New York, N. Y., 19h6
30. Southern, Thomas M., The g,§,g, Picture Book 9;,Eminent
Negroes, Past and Present
The A.B. C. Publishing Co., Los Angeles, 031., 1951
31. Spaeth, Sigmund, A Guide to Great Orchestral Music
The Modern Library, New York, N.Y., 19h3fl
32. History Lf Ponular Music in America
The Modern Library, New York, N. Y., 1958—
33. Ulanov, Barry, Duke Ellington
Creative Age Press, New York, N.Y., 19u6
3%. Who's Who Ln America

 

The Ann Marquis Co., Chicago, Ill., 19h2-43

1.

10.

11.

12.

13.

14.

318

-Periodicals-

Arvey, Verna, "With His Roots in the Soil”
Musical Courier, April 15, l9b9

Arvey, Verna, "Still Opera Points the Way"
Music Forum and Digest, August, 1949

Ballou, Leonard (ed), ”Mastery - William Grant Still”
Tones and Overtones, Spring, 195“

Brant, L.V., "Grief: Score with Words"
Etude, August, 1955

"Danza de Panama"
Notes, June, 1954

"Festive Overture”
Cincinnati Symphony_Pr0gram Notes, March 3, 1954

Gehrkens, ”How About William Grant Still?”
Etude, January, 1949

"Jackson Symphony to Premiere William Grant Still's
'Little Song'”, Musical Courier, February 15, 1955

"Jazz Symphony"
Time, December 20, 1937

Kyle, M.K., "AmerAllegro"
Pan Pipes, January, 195k

Kyle, M.K., "AmerAllegro"
Pan Pipes, January, 1956

Kyle, M.K., ”AmerAllegro"
Pan Pipes, January 1958

Lippey, Joyce and Muns, Walden E., "William Grant Still"
Music Journal, November, 1963

Matthews, M., "William G. Still - Composer"
Ph lon, Fall, 1951

319

 

 

 

 

 

 

 

Periodicals
15. "Negrene i Amerikansk Musik, W.G. Still"
Dansk Musiktidsskrift, November 5, 1951
16. "New York City Opera Company Hits its Stride”
Lugs. £918.. May. 1949
17. ”Our Musical Resources"
éhowcase,_Fall, 1961
18. Pilcher, "The Negro Spiritual: Lively Leaven in the
American Way of Life”, Etude, April, 1946
19. ”Troubled Island"
Time, April 11, 1949
20. "Troubled Island”
Musical America, April 1, 1949
21. "Troubled Island”
Newsweek, April 14, 1949
22. "Troubled Island, Opera by Still, Premiered”
Musical Courier, April 1, 1949
23. "Troubled Island, to Highlight New York Opera"
Variety, 1949
24. ”William G. Still"
Music Dealer, February, 1949
25. "William Grant Still"
Ebon , January, 1964
26. "William Grant Still"
Negro History Bulletin, May, 1954
27. "Works: W.G. Still”
Pan Pipes, December, 1950
28. "World Premiere in City Center Season”

Musical America, April 1, i949

 

 

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11.

12.

13.

14.

15.

320

~Newspaper Articles-

"Afro-American Symphony“
Courrier Musicale, Paris, France, February 15, 1933

”And They Lynched Him on a Tree”
New York Times, May 26, 1940

"Ballet, SahdJi Features Final Performance in Eastman
School", New York Times, May 23, 1931

“Choral Composition Plain Chant for America to Have
Premiere at New York Philharmonic Symphony Orchestra
Concert", New York Times, September 14,1941

"Choral Composition Premiere"
New York Times, June 26, 1940

Downes, Olin, "Afro-American Symphony"
New York Times, May 22, 1931

"Fair's Musical Theme to Shun Stridency"
New York Times, July 29, 1938

”First.New York City Performance of Afro-American Symphony”
New York Times, November 21, 1931

"Lenox Avenue”
New York Times, February 14, 1937

"New York World's Fair Perisphere Tone Poem to be Broadcast”
New York Times, April 13, 1939

"New York World's Fair Tone Poem"
New York Times, August 1, 1938

"New York Philharmonic Symphony Orchestra Gives
Premiere of Work", New York Times, October 24, 1941

"New Opera to be Given by N.Y.C. Opera Company“
New York Times, February 12, 1949

 

"Norwegian Music at Fair”
New York Times, April 13, 1939

”Opera, Troubled Island Discussed"
New York Times, September 15, 1946

 

 

 

 

 

 

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321

Newspaper Articles

16.

1?.

18.

19.

20.

21.

22.

23.

"Song, Plain Chant for American Pacific Coast Premiere
Played by Los Angeles Philharmonic Orchestra"
Los Angeles Times, November 29, 1942

”Song of a New Race”
Philadelphia Inquirer, December 11, 1937

"Still Wins Cincinnati Orchestra Music Award”
EEK.X2£E.E$E§§. December 27, 1944

”Troubled Island by Still"
Pittsburgh Courier, April 1, 1949

"Troubled Island, by William Grant Still"
New York TimesI February 17, 1949

"William Grant Still"
Microci Microla, Belgium, June 11, 1950

”William Grant Still Wins Second Place in Eastman
School of Music Orchestral Contest"
New York Times, November 22, 1927

”William Grant Still Gets Harmon Foundation Music Award“
New York Times, February 13, 1928

"l.

2.

322

-Articles Written by Still-

”Are Negro Composers Handicapped?”
The Baton, Vol I., No. 2, November 1937

"American Composer: His Changing"
Cleveland Sympho_y Orchestra Progrm Notes, November 7, '46

"Blues in California"
Portime, June, 1948

”Letter on Race Problem"
New York Times, January 19, 1944

”Music a Vital Factor in America's Racial Problems"
Australian Musical News and Digest, November 1, 1948

”Progress in Music"
Pittsburgh Courier, November 11, 1950

"Serious Music: New Field for the Negro”
Variet , January 5, 1955

”Structure of Music"
EtudeI March, 1950

”Towards a Broader American Culture”
Newsletter, July, 1954

LIST OF COMPOSITIONS

-0rchestra1 Works-

Title

 

Afro-American Symphony '

Archaic Ritual
A Song at Dawn
Bells

”Blues" (Lenox Avenue)
Danzas Q2_Panama

Darker America

Dismal Swamp

Source

J. Fischer
Glen Rock, N.J.

unpublished
unpublished

Leeds
New York, N.Y.

J. Fischer
Glen Rock, N.J.

Southern Music
New York, N.Y.

Eastman School of Music

Carl Fischer
New York, N.Y.

American Music Center

New York, N.Y.

Fanfare for the 92th Fighter Squardron

Festive Overture

From the Black Belt

 

 

 

Fifth Symphony

unpublished

J. Fischer
Glen Rock, N.J.

Carl Fischer
New York, N.Y.

unpublished

cir.
cir.

cir.

cir.

cir.

cir.
cir.

cir.

Date 9;.Premiere

1931

i935
1946
19h0

19u5

1950

1928

1937
1942
19kg
19u6

1954

In Memoriam: The Colored Soldiers who Died for Democracz

Kaintuck

Leeds Music Corporation

New York, N.Y.
unpublished

323

19u3

1935

Orchestral Works

Little Red Schoolhouse

Little Song
Old California

”Out of the Silence”

Pages from Negro Historz
“Africa9, ”Slavery”,

Poem for Orchestra

Plainchant for America

324

unpublished
unpublished

Carl Fischer, Inc.
New York, N.Y.

(Seven Traceries)

J. Fischer and Bro.
Glen Rock, N.J.

"Emancipation”
Carl Fischer
New York’ N.Y.

Leeds Corp. ,
New York, N.Y.

J. Fischer and Bro.

(baritone and orchestra) Glen Rock, N.J.

Rhapsod1_(soprano and orchestra)

unpublished

"Scherzo” (Afro-American Sxmphpgz)

Serenade

"Suite” (Lg Guablesse)

Song 93,3 Citz

J. Fischer and Bro.
Glen ROCK, N.J.

unpublished

Carl Fischer, Inc.
New York, N.Y.

J. Fischer and Bro.
Glen Rock, N.J.

"Summerland" (Three Visions)

Symphony i 9 Minor

Symphonx Number 4

 

J. Fischer and Bro.
Glen Rock, N.J.

J. Fischer and Bro.
Glen Rock, N.J.

unpublished

1935
cir. 1950
cir. 1945

cir. 1946

1953

1955
1941
eir. 1950
cir. 1931

cir.31957
011‘. 191-$9

1939

1936

1937

1951

325

Orchestral Works

The American Scene unpublished
Three hathmic Spirituals Bourne, Inc.
New York, N.Y.

"Victory Tide” J. Fischer Bro.
Glen 309k, N.J.

Wood Notes Southern Music
New York, N.Y.

"Work Song" (From the Delta)
Leeds Corporation
New York, N.Y.

-Band Works-
From the Delta Leeds Corporation
New York, N.Y.

"Victory Tide” J. Fischer and Bro.
Glen Rock, N.J.

"Old California" unpublished

"Summerland" (Three Visions)
unpublished

22 You, America Southern Music

New York, N.Y.

-Oboe and Piano-

Incantation and Dance Carl Fischer, Inc.

New York, N.Y.

1959
1950

1943
i954

1947

1950
1945

1945
1948

1951

1945

326

-Oboe, Bassoon and Piano-

"Vignettes" unpublished
~Flute, Oboe and Piano-
"Miniatures" ‘ unpublished

-Flute, Oboe, Bassoon and Piano-

Folk Suite N2. 2 unpublished

-Flute, Clarinet, 'cello and Harp

Folk Suite Ng,_g unpublished

-String Quartet-

Southern Music
New York, N.Y.

Danzas gg,Panama

-String Quartet, Flute and Piano-

Folk Suite 39. l unpublished
-Accordion-
”Aria" Sam Fox
New York, N.Y.
-Sax0phone and Piano-
"Romance" unpublished

cir.

011‘.

011‘.

cir.

011‘.

011'.

cir.

1960

1950
1954
1953
1951

1952

1960

1958

327

-Organ-

”Summerland" (Three Visions)
J. Fischer and Bro. 1944
Glen Rock, N.J.

”Reverie” The Los Angeles Organist 1961
Los Angeles, Cal. .

"Elegy" The Los Angeles Organist 1963
Los Angeles, Cal. '

 

 

 

-Operas-
Troubled Island (three acts) 1949
unpublished
A Southern Interlude (two acts) cir. 1950
unpublished
A Bayou Legend (three acts) cir. 1940
unpublished
Costaso (three acts) unpublished 1950
Mota (three acts) unpublished 1951
The Pillar (three acts) unpublished cir. 1956
Highway Number One (one act) 1963

~Educational Music-

"Lament" (voice and piano) American Music Horizons
Silver Burdett
Morristown, N.J.

"Up There" (voice and piano) World Music Horizons
Silver Burdett
Morristown, N.J.

”Five Animal Sketches" (piano) Music for Earlz Childhood
Silver Burdett
Morristown, N.J.

"Two Spirituals” (SATB) Theodore Presser's
Junior High School Choral Series
Bryn Mawr, Pa.

F'V'

 

328

-Piano Solo-

Three Visions

"Quit dat Fool'nish'

Seven Traceries

”A Deserted Plantation”

"Bells”

”Marionette“ (U.S.A.)

-Voice and
”All that I am”
"Citadel“

"Breath of a Rose"

Caribbean'Melodies

"Bayou home",

J. Fischer and Bro.
Glen 300k, N.J.

J. Fischer and Bro.
Glen Rock, N.J.

J. Fischer and Bro.

Robbins Music Corp.
New York, N.Y.

Leeds Corp.
New York, N.Y.

Leeds Corp.
New York, N.Y.

Piano-
unpublished
unpublished

G. Schirmer, Inc.
New York, N.Y.

Oliver Ditson Co.
Bryn Mawr, Pa.

Robbins Music Corp.
New York, N.Y.

“Every Time I Feel the Spirit

"Grief”

”Here's One"

Galaxy
New York, N.Y.

Oliver Ditson Co.
Bryn Mawr, Pa.

John Church Co.
Bryn Mawr, Pa.

cir.

oir.
cir.

cir.

cir.

011‘.

011‘.

1936
1938

1940
i936

1941

1940

1955
1952
1940

1947
1948

1945

1955

1950

”Mississippi”

”Plainchant for America”

”Song for the Lonely”

“Songs of Separation" ”:5

Twelve Negro Spirituals

”Victory Tide”

"Winter's Approach”

"A Psalm for the Living”

329

unpublished cir. 1948

J. Fischer and Bro. cir. 1941
Glen HOOK, N.J. ’

unpublished cir. 1950

Leeds Corp.- ' 1952
New York, N.Y.

Francis, Day and Hunter cir.1947
London, England

J. Fischer and Bro. cir. 1939
Glen Rock, N.J.

G. Schirmer, Inc. cir. 1940
New York, N.Y.

And They Lynched Him gg_g Tree

”Carry Him Along”

From a Lost Continent

 

 

”Here's One”

"Rising Tide”

Three Negro Spirituals

 

-Chorus-

unpublished cir. 1961
J. Fischer and Bro. 1940
Glen Rock, N.J.

Oliver Ditson Co. cir. 1947
Bryn Mawr, Pa.

unpublished cir. 1945
John Church Co.

Bryn Mawr, Pa. 1941
J. Fischer and Bro. 1939

Glen Rock, N.J.

Handy Bros. Music Co. 1940
New York, N.Y.

Three Rhythmic Spirituals Bourne, Inc. cir. 1950
"Two Choral Episodes" (Lenox Avenue) 1938

J. Fischer and Bro.
Glen Rock, N.J.

330

“Those who Wait“ unpublished cir. 1951
“The Voice of the Lord” Witmark

New York, N.Y. . 1946
”Wailing Woman" unpublished ' cir. 1941
"Victory Tide” J. Fischer and Bro. - 1940

Glen Rock, N.J.

~Ballets-
Lenox Avenue J. Fischer and Bro. 1938
Glen Rock, N.J.
Miss Sally's Party unpublished cir. 1946
L§_Guiablesse Carl Fischer, Inc. cir. 1953

New York, N.Y.
Sasaii Eastman School of Music cir. 1934

Rochester, N.Y.
(in preparation)

-Recorded Works-

Afro-American Symphony, recorded by Karl Krueger and
the Vienna Opera Orchestra for New Records, 1952

”Blues", Lenox Avenue, and "Here's One”, recorded by Louis
Kaufman, violinist, for V0: Records, 1948 - later by
Concert Hall Records, 1950.

"Here's One”, recorded by Robert McFerrin in an album of
Spirituals, on a Riverside label no. 812, in 1961.

"Here's One", recorded by Bill Mann, WORD Records, Waco Texas.

Sahdji, recorded by Howard Hanson and the Eastman-Rochester
orchestra and chorus for Mercury, 1960 (MG 5025?)

 

.. LONG 11
:3-::a.‘iu'f0 .

A
,.
s ,purrgVA-
‘1 cut .a- . r

331
Recorded Works

”Scherzo”, Afro-American S hon , recorded by Leopold
Stokowski and the American Youth Orchestra, Columbia, 1944.

 

"Work Song”, From the Delta, recorded in a symphonic band
album by Morton Gould for Columbia, 1948.

To be released: a new recording of the Afro-American Symphony
and the Fourth S phon , by Karl Krueger and His Socie y for
the Preservation of the American Musical Heritage, Chappaqua, N.Y.

.-’ .1.”H_— -