An Analytical and Educational Survey of Howard Hanson's Dies ...

18Chapter 3: Analysis of Dies NatalisIntroductionThe introduction of the work serves two primary purposes: to create a harmoniccenter and to create motion and interest by introducing melodic material. The beginningof Dies Natalis starts with a heartbeat: a steady pulse in the timpani, above which triadicharmonies are gradually layered. The rhythmic G pedal of the timpani establishes the rootof the primary key center of the piece. Hanson has a certain affinity for the pedal in hiswriting: "I've been almost overaddicted to pedal points. I'm a pedal man and I'm inclinedto sit on the pedal for a long time, sometimes, perhaps, too long" (Williams, 1988, p. 18).The solo timpani continues for eight measures using quarter notes and simple eighth noterhythms interspersed. At this point, harmonic material is introduced above the G pedal, inthe chord progression G major 7 - e minor - G major 7 - C major 7. After the first cycleof progression, the seventh is dropped from the C major 7 chord. These half-noteprogressions are actually quoting two measures of the chorale, 45 and 46. This continuesfor an eight-bar phrase, changing color through instrumentation between trombones withbasses and clarinets, bassoons, and horns.Next, melodic material is introduced in four-bar phrases in the form of a perfectfifth heptad, discussed previously in the section on Hanson's compositional style. Thefollowing example is the first setting of the melody:In the internal structure of this melodic material section, four melodic lines appear. Thefirst begins on the seventh (F-sharp), the second begins on the root (G), the third begins