Sweelinck 1615: Pavana Lachrimae- Melody, Texture & Harmony
- Created by: Rachie S
- Created on: 08-02-17 20:05
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- Sweelinck 1615: Pavana Lachrimae: Melody, Texture & Harmony
- MDP MDR: Melody
- Motifs Repeated
- Falling 4th 'tear' motif
- Extra one at bar 5
- Inverted at bar 49
- Bars: 1-2 & 33-34
- Each section is followed by an embellished & varied repeat
- Falling 4th 'tear' motif
- Diatonic?
- Highly, in A minor using the melodic form
- F#'s & G#'s at bar 10
- False relations create chromaticisms
- Bars: 3-4, 10 & 12
- Highly, in A minor using the melodic form
- Phrases
- First two strains are 16 bars, the last is 17 bars
- Some irregular divisions
- The phrase starts at bar 39 (7th bar of the strain)
- Some irregular divisions
- First two strains are 16 bars, the last is 17 bars
- Motion
- Mostly conjunct and stepwise
- Rising minor 6th in bar 2
- Typical of early Baroque
- Mostly conjunct and stepwise
- Devices
- Written trills
- Bar 23
- Lower auxillary
- Bar 30
- Sequences
- Descending: bars 23 &91/92
- Imitation
- Bars 17/18
- Semi-quaver embellishments
- Bars 26/27
- Written trills
- Range
- Narrow range, normally within an octave
- There can be expansion in variations
- Bars 85-87
- There can be expansion in variations
- Narrow range, normally within an octave
- Motifs Repeated
- F BARS: Texture
- Full?
- There are 3 parts in busier variation sections
- Bars 86-87
- Full with 4 part choral style often used
- Bars 2-6
- There are 3 parts in busier variation sections
- Basic Texture
- Free contrapuntal style with the top line dominating the melody
- Accompaniment
- Parts are distributed through loose counterpoint
- However the bass line is less complex
- Parts are distributed through loose counterpoint
- Relationships
- The top line dominates the melody though it does sometimes pass between parts
- Bars 17-18
- The top line dominates the melody though it does sometimes pass between parts
- Specific Techniques
- Stretto Imitation
- Bars 42-44
- Antiphonal exchanges between pairs of voices
- Bars 39-41
- Imitation/ Imitative textures
- Bars 49-51
- There is lots of anticipating/ echoing of the melodic line
- At the beginning
- Stretto Imitation
- Full?
- CH DD TFD: Harmony
- Cadences
- Clear cadences at the end of each section
- Imperfect bars 46-48
- Perfect with Tierce de Picardie bars14-16
- Clear cadences at the end of each section
- Harmonic Rhythm
- Mostly 1 or 2 chords per bar
- But, 1 over bars 1-2
- Mostly 1 or 2 chords per bar
- Diatonic/ Chromatic?
- Mostly diatonic though false relations are used
- They are common due to the mixture of modal and tonal writing
- Bar 12
- Mostly diatonic though false relations are used
- Dissonant?
- Many suspensions which are often ornamented
- 7-6 suspensions in bars 2-3 & 34-35
- Many suspensions which are often ornamented
- Triadic Harmony?
- The harmony is overwhelmingly triadic with chords being in mainly root or 1st inversion
- Bars 11-12
- The harmony is overwhelmingly triadic with chords being in mainly root or 1st inversion
- Functional Harmony?
- Very functional with the use of functional and other cadences
- Bars 15-16
- Very functional with the use of functional and other cadences
- Devices
- Dominant pedal
- Bars 65-68
- Dominant pedal
- Cadences
- MDP MDR: Melody
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