Holbourne - Pavane and Galliard.

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  • Holbourne
    • Facts
      • Published in 1599
      • Consort - not actually designed for dancing
      • Sedate in character
      • Duple metre - 3 sections
      • Decoration added in on the repeat of each section
      • Unsophisticated timbre
      • In D major, lots of modulation, added G#
    • Strain A
      • Opening melody.
        • Dotted rhythm.
        • Descending stepwise from tonic to dominant.
        • IMITATION WITHIN COUNTERPOINT.
      • Dense polyphonic texture
        • lots of imitation
        • 5 PART COUNTERPOINT.
      • Suspension in bar 8.
        • D carried through from bar 7 to 8.
      • False relations.
        • bar 11 and bar 13
        • a clash of notes a semitone apart in 2 different parts either simultaneously of in close sucession
      • Perfect cadence.
    • Strain B
      • Opening melody.
        • Same as strain A
      • Imitation inversion, bar 18
      • False relation in bar 18.
      • Closing cadence.
        • Perfect in A minor
      • Suspensions and syncopation in bar 31.
      • 1 bar longer than Strain A.
    • Strain C.
      • Melody in alto clef.
        • ASCENDS TO DOMINANT
      • Bottom bass plays pedal then ascents to dominant but is augmented.
      • Same texture, same ideas, same devices.
      • Dominant pedal b54-57.
      • Suspension b56-57
      • Perfect cadence.
    • Harmony.
      • Passing notes.
      • Suspensions
      • overlaps parts (sop. +alto)
      • Big jumps/wide leaps
        • using the root of the chords in the bass part.
    • Galliard.
      • A dance not to be danced to.
      • Popular in Renaissance.
      • Lively and fast
        • 3/2 triple time.
      • Lots of syncopation.
      • Improvised/decorated melody in the repeat
      • D minor
        • TIERCE DE PICCARDIE.
      • All 8 bar phrases.
        • AABBCC
        • regular phrasing.
      • Homophonic bars 9-16.
        • ONLY TIME IT MOVES FROM 5 PART COUNTERPOINT.
      • bars 9-13: A minor
      • bars 17-21: F major.
      • Imitation.
    • Cadences.
      • Section A - Perfect Cadence.
        • TIERCE DE PICCARDIE.
      • Section B - PHRYGIAN MODE.
      • Section C - Perfect Cadence.
    • Rhythm
      • 3/2 -triple time, 3 minims in a bar.
      • syncopation in bars 3 and 7.
      • Bar 1, first bass line out by half a beat.
      • Bars 10-11 - hemiola - also in bars 14-15.

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