Download Your Friend Shall Be the Tall Wind Text by Fannie Stearns Davis

Your Friend Shall Be the Tall Wind
Text by Fannie Stearns Davis
Music by Sherri Porterfield (b. 1958)
Background
Fannie Stearns Gifford (née Davis) (Mrs. Augustus McKinstrey Gifford).
Born 1884. Educated at Smith College. The poem is called "For a Child". Originally "your friends shall be the tall wind”.
Recordings
MPCS Prism Concert (for SSA): https://youtu.be/pDPPVpZEPuM
Publisher provided recording (partial): http://www.jwpepper.com/sheet-music/media-player.jsp?&type=audio&productID=1963768
Analysis
This piece is formed in two distinct but similar sections.
The first section consists of the main theme (antecedent and consequent phrases) and a contrasting section of equal length.
The second section repeats the main theme (both phrases), then has a contrasting section that consists of an antecedent phrase of new
material and consequent phrase that is the same as that of the main theme. The coda is built on the last two measures of the main
theme with the rhythmic durations augmented. Graphically, it looks something like this:
Main theme
AA'
Section 1
Contrasting Theme
BB'
Main theme
AA'
Section 2
Contrasting theme
CA'
© Copyright 2015 Elizabeth Pauly. All rights reserved. The chart below gives a more detailed explanation.
Ms 1-4
Ms 5-20
Introduction
Piano only
Section 1
5-12
Main theme; 5-8
antecedent
phrase in unison;
9-12 consequent
phrase in
harmony with
melody in upper
voice
13-20
Contrasting theme;
two part harmony;
13-16 antecedent
phrase; 17-20
consequent phrase –
tonal center in flux
throughout this
passage from F to
Bb to Eb and finally
back to G
Ms 2124
Interlude
Piano
only
Ms 25-40
Section 2
25-32
Main theme; 2528 antecedent
phrase in unison
(voices
alternate); 29-32
consequent
phrase in
harmony as
before (ms 9-12)
Ms 41-end
33-40
Antecedent phrase of
new material in
original key;
consequent phrase is
that of the main
theme in home key
as well
© Copyright 2015 Elizabeth Pauly. All rights reserved. Coda and postlude
Ms 41-44
Coda, built from last
two measures of main
theme with the
rhythmic durations
augmented; (harmony
with melody in upper
voice);
45-end: piano
postlude