Land of the Bitterroot

Description

In setting out to compose a piece based on the music of the Native American peoples of the interior Northwest, I did extensive research using the resources of the Smithsonian Institution and the Special Collections Library of Washington State University in Pullman. I am deeply indebted to Dr. A Loran Olsen, one of my graduate professors and a keen researcher of Indian music and culture, who provided a wealth of information and musical material. My thanks also to Mr. Kirk Easter, a dedicated and charismatic teacher, who planted the seed for the gestation of this piece.

This work is not a literal presentation of any of the songs and dances, but rather is inspired by them. All of the music comes from the area of Western Montana. A secondary goal was to present the material in an interesting fashion for the string orchestra, utilizing varied colors, compositional techniques and playing styles.

The opening material is original and is intended to invoke the beauty and expansiveness of the landscape, with hints of the peoples who made it their home. At measure 32, the first of four native motifs appears, an “Owl Song” from the Blackfeet, which cascades down through the lower strings. Measure 46 introduces a slowly lilting rhythm which accompanies a “Serenade” or “Canvas Dance” of the Flathead people. This song would be performed in the dark of evening, with the singers quietly moving from dwelling to dwelling until they had sung at each residence in the village.

An abrupt change of tempo at measure 65 begins a “stick game song” of the Kalispel tribe. These songs accompanied gambling games at regional pow-wows (encampments). For this section, the bass players should use their fingertips loosely on the top of the instrument to emulate a large drum played fairly softly but with as much resonance as possible. The second violinists should knock on the back of their instruments with their knuckles to imitate a small drum, again played lightly. The violas set up an ostinato which accompanies the song. At letter “F” the tempo picks up as a Blackfeet War Dance begins over the staccato drumming of the celli and bassi. Violins and violas present this song in canon, and their entrances should be clearly emphatic. The abrupt change of tempo at “G* should be conducted in two beats per bar as the piece spins to a rousing conclusion.

Published by: String Instrument Specialists