Freedom" and "Massa's in the Cold Ground", minor third intervals predominate. Ives chose these sources because of their musical similarities and the possibility of creating fresh, seamless motives from them. Furthermore, the pieces have strong extra-musical associations Ives used to full advantage. Mixing patriotic Civil War songs with old slave plantation songs created a vivid image honoring those who fell fighting for the emancipation of blacks during the Civil War. Other borrowings in this first movement include "Reveille" and "Deep River". II. Putnam’s Camp, Redding, Connecticut Derived from two earlier pieces, "Country Band March" and Overture & March: "1776" (both 1904), Putnam's Camp was finished in 1912. It is thought that working on his Fourth of July was an impetus for Ives here since he had just recently used the trio (or middle) section of 1776 in that work. A distinguishing characteristic of this movement is the combination of multiple divisions of the orchestra playing against each other while occasionally throwing in asymmetrical phrases or wild dissonances. Putnam's Camp, near Redding, Connecticut, was established as a historic landmark by the Connecticut legislature in 1887 and named in honor of the American Revolutionary War General Israel Putnam, who set up a camp in the area during the winter of 1778–79. The site has been preserved as a historic treasure because of Putnam's important role in the Revolutionary War, especially the Battle of Bunker Hill. Fourth of July celebrations are often held at the site due to its historic significance. Ives wrote a program into the score, describing the story: James Sinclair, who was responsible for the work done in the 1970s to recreate the original score of Three Places, correlated many of the measures in the score for Putnam's Camp with this program. A picture has since been worked out which shows the measures of the piece along with their programmatic significance. Borrowing Ives borrowed extensively from American patriotic tunes to create the imagery of frantically patriotic Fourth of July celebrations. The opening measures are typical of Ives in their heavy chromaticism and varying time signatures ( against ) to create the sound of community marching bands. This touchingly realistic interpretation resolves shortly after the start of the piece into a B major march, but chromaticism and disarray are never far from breaking through, giving the impression that the musicians in this band are only amateurs. Ives also experimented with quoting