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

19on the secondary seventh of the dominant (C-sharp), and the fourth begins on thedominant (D). Thus, the sequencing of melody in this section is from the root to the fifth.This relationship of the fifth was favored by Hanson, as were the major second and majorthird (Williams 1988). Additionally, a relationship exists within the four statements of themelody. The outer melodies start on the downbeat of the first measure of the phrases,while the inner melodies start on the second beat of the first measure of the four-barphrases. Structurally, this places the strong statements of the melody on the beginningand ending of the section, with the weaker, second-beat phrases on the inside of thesection.The pedal G and stable harmonic material is present throughout the introductionwith few exceptions. In the third melodic phrase of the introduction, the pedal shifts tothe fifth, D. Notably, this is the first occurrence where the G pedal changes. Theharmonic progression of this phrase is: b minor - C major - b minor - A major - G major- C major - b minor - C major. The pedal returns to a G pedal for the fourth melodicsegment. The fourth phrase builds in volume and in instrumentation so that all winds andtimpani reach fortissimo at the last section of the introduction. This last section consistsof two phrases in which the horns (plus saxophones in the first phrase) preview theupcoming melody with the first seven notes of the chorale, and the winds respond aftereach with the previously established harmonic progression over a G pedal. The timpanipedal is absent during the horns' statement of the chorale melody. The absence of pedal(along with the absence of harmonic accompaniment in the winds) draws attention to thebold forte horn statement of the melody.