famous musical excerpts in different keys from the main theme. This idea stems from an incident when Ives was listening to two different marching bands and could still hear one band marching away while the other was marching towards him, thus sounding like two pieces simultaneously played in two different keys. Many American patriotic tunes, such as "Yankee Doodle" are quoted during the piece. In the last two measures of the piece, the national anthem resolves to an unexpected, dissonant chord. Borrowed tunes include "The British Grenadiers", "Marching Through Georgia", "The Girl I Left Behind, "Arkansas Traveler", "Massa's in the Cold Ground", "The Battle Cry of Freedom", "Yankee Doodle", "Columbia, Gem of the Ocean", "Hail, Columbia", "Tramp! Tramp! Tramp!", "The Star-Spangled Banner"; and Richard Wagner's "The Ride of the Valkyries". III. The Housatonic at Stockbridge First drafts were written primarily in the summer of 1908, reworked in 1911 and then again in 1913, extending the atmospheric depiction of mists and running water far longer than the original first two measures. The scoring was completed in 1914. It was arranged as a song in 1921 to lines excerpted from Robert Underwood Johnson's poem To the Housatonic at Stockbridge, but this final movement of Three Places in New England is purely orchestral. It features strident polyrhythmic activity in the strings, coupled with a hymn tunes Isaac B. Woodbury's hymn tune "Dorrance" and "Missionary Chant". This piece was inspired by a walk Ives had taken with his new wife, Harmony, in June 1908 on a honeymoon hiking trip in western Massachusetts and Connecticut, a rural setting they enjoyed so much that they chose to go back to the Berkshires the very next weekend. While there, they took a walk by the Housatonic River near Stockbridge, Massachusetts. Ives recalled, Two days later, on 30 June 1908, Ives sketched some ideas to try to capture the atmosphere of this rustic scene. He used irregular, quasi-isorhythmic ostinatos in the violins to create the image of mist and fog rolling over swirling waters, and an English horn and violas to mimic the sound of singing from a church across the river. Borrowing Unlike the other pieces in this set, no American folk tunes are quoted in it. Instead, this piece exemplifies Ives' use of paraphrase of "Dorrance", and can thus be classed as an extended paraphrased melody using the following devices: Rhythmic alteration (mm. 7–9, 11–12). Omission