John Dowland - Flow My Tears Analysis

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  • Created by: CG01
  • Created on: 20-01-13 18:26
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  • John Dowland Flow My Tears
    • Structure
      • Tripartite AABBAA
        • A: Bars 1-8 (x2 with different lyrics                  B: Bars 9-16 (x2 with different lyrics                C: Bars 17-24 (Repeated)
      • Through Composed (In continuous development with no repitition between verses
    • Setting
      • Almost entirely syllabic
      • Few melismas reserved for pairs of semiquavers
        • First melisma in bar 1 to aid the passing note
        • The rest of the melisma's add weight to the lower auxiliary notes and therefore have harmonic as well as a melodic purpose
        • The melisma's (excluding bars 1 and 10) are cadential and therefore have a structural purpose
      • Word Painting
        • Tear of grief motif used throughout
          • onomatopoetic quality depicts a human crying. four descending notes like a tear rolling down the cheek
    • Meldody
      • Complete melody
      • Highly lyrical and expressive line
      • General character is conjunct with some consonant skips. (especially in the central section at bars 12-14)
      • Much of the solo is derived from the falling scalic part in bar 1, reflecting the doleful mood of the words
    • Tonality
      • Tierce De Picardie
      • Section A
        • A minor ending with a tierce de picadie (A major at bar 8)
        • Finishes with perfect cadence
      • Section B
        • C Major. modulations to D minor at bar 12 and then returning to A minor at bar 6
        • Opens in a relative major and finishes on Phrygian Cadence
      • Section C
        • Minor ending with a tierce de picadie
      • A Minor with aeolian inflections
    • Texture
      • Homophonic with lute creating  some contrapuntal elements through part movement (bar 4)
      • Uses counterpoint which is successful because it is totally motivic and so can be justified on both academia and emotional terms
      • Hexachord in bar 16
      • Bar 4: only two parts accompanying lute
      • Little immitation, immitation in bar 12-15
      • Bar 12: Tenor voice moves in sixths with solo line in clear contrast to the treble and bass parts of the lute accompianment
    • Harmonic Devices
      • Harmonic devices
        • Suspensions
        • False relations
        • Phrygian cadence
        • Double suspensions
        • Dominant pedal in bass
        • Tierce de Picardie
    • Melodic Devices
      • Lower Auxilary note


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