The beauty of Goodenough’s Elegy (1960) is in the combination of a steadiness of pulse and a fluidity of essentially undeveloped melody. (There is not a break of sound in the piece!) The melodic conception is of modal line, stemming from a minor triad and moving within
characteristically small tonal areas. Between cadential punctuation, the melodic seed mounts sequentially in luscious appogiaturas, intensifies to a climax with the timbre of cymbals, and recedes to unison. The result is both frustrating and peaceful—the effect somewhat mystical.
—Notes by MARTHA GERHART (Original liner notes from CRI LP jacket)