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Appalachian Spring
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=== Eden Valley === {{Block indent|<score sound="1"> \relative c''' { \set Staff.midiInstrument = "piano" \clef treble \key c \major \time 4/4 \tempo "Allegro" 4 = 160 a8_\markup { \dynamic f \italic \small { vigoroso } }-> a, a'4 a8 cis a4->~ | a1\fermata | e'8->[ a,] e[ cis] a[ e] a,4->~ | a1\fermata } </score> }} An ''allegro'' melody bursts forth as the Daughter bounds from inside the home.{{Sfn|Copland|2000|p=5}} The melodies of "Eden Valley", meant to express the Bride's joy, use elements of an "old-fashioned [[Swing music|swing]]" described in the early scripts.{{Sfn|Pollack|1999|p=397}} The new melody is followed by a bouncy restatement of the polychord from the "Prologue". A [[chorale]]-like second theme is introduced alongside the first. This chorale features odd rhythms between the different voices; while the upper line emphasizes the second beat, the bass line accents the first and third beats.{{Sfn|Fauser|2017|p=66}} The music calms down to a ''moderato''; as the Husbandman enters, jagged rhythms show his awkward movement, but it is twice interrupted by the gentle chorale.{{Sfn|Fauser|2017|pp=66β67}}{{Sfn|Pollack|1999|p=397}} As the two back out of the home, the couple dances a duet, this time accompanied by a new, more forceful theme in the strings. A descending melodic line is contrasted with the chorale theme; this connection of themes is seen throughout the episode and was used by Graham to easily shift the characters. The two receive the blessings of the Pioneer Woman and the Revivalist. This section is reminiscent of the Cowgirl's music from ''Rodeo'', or the soft parts of ''Lincoln Portrait'' for the love theme; near the end, the clarinet brings back the chorale, and the flute answers, a [[call and response]] between the Bride and the Husbandman.{{Sfn|Fauser|2017|p=67}}{{Sfn|Crist|2005|p=172}}{{Sfn|Pollack|1999|p=397}} Throughout the episode, the Followers participate in various group solos; the group often features a "spiraling" motion, moving into a kneeling position. "Eden Valley" closes with the Followers returning to the bench, each taking a seat one by one. Illustrating the choreography's close connection to the music, the moment each Follower sits is cued by a short motif in the woodwinds.{{Sfn|Robertson|1999|p=10}}
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