Holborne- Pavane and Galliard

Texture

five part polyphonic, with imitation between the parts but no complete series of imitative entries like a fugue or fugato
the parts rarely cross over, but it does occur in bars 35-36 and 41-42 where the tenor viol goes higher than the treble viols
imitation can be seen in bar 1 beat 2 where the first bass viol imitates the first treble viol
In the third strain, the same five note figure is used extensively here; also the suspension figure from the first section is shown in bar 42
In bar 17, the tenor viol imitates the first treble viol at a distance of one beat, while the first bass viol begins a descending scalic passage

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The pavane goes through the main keys of G, A and D major. (D, A, D) and concludes with a perfect cadence
Each movement has three repeated sections (or strains)
the first strain is 16 bars, the second is 17 bars, and the third is 26 bars
The galliard also has three strains, each 8 bars long.
the first strain is mainly in Dorian Mode (the seventh is sharpened - the final chord is tierce de picardie)
The second strain has a tonal centre of D major but as a phrygian cadence in D minor
The third strain actually starts ambigously in F major, briefly moves to C major (21-22) before returning to D minor at bar 23 for the final cadence

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The harmonic character of the music is largely created by the polyphonic movement of the parts, though at times there is a strong sense of logical harmonic structure, shown mainly at the cadence points
Harmonic devices such as accented passing notes e.g bar 1 in the pavane with C# in the first treble viol, unaccented in the Galliard with a D in bar 1
In bar 5 of the pavane, the second treble viol part, the G has been prepared at bar 4, beat 2 creating a 4-3 suspension
Some tied notes produce unexpected harmonic effects without producing dissonances. An example of this is the F# in the tenor viol part at bar 3 beat 1 where the expected chord of A and E is delayed until the second crotchet beat
A false relation in bar 11 (tenor C#, treble viol C)

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The melodic writing is largely conjunct, but particularly so in the 1st treble viol where this is only one non-conjunct interval in the first strain of the Pavane and one two in the second
Where there are melodic leaps, there are never bigger than a perfect 5th except for the occassional use of an octave - the writing is declamatory
The second bass viol part is similar to baroque bass lines with more use of pedal points and leaps of 4ths and 5ths (in the Pavane)
There is use of inversion of melodic figures; this can be seen in the Pavane in the first strain after the descending lines of the opening bass viol part has a rising scale form bar 6 which is then picked up by the first bass viol in bar 8 and the tenor viol in bar 10
The melodic shape of the first treble viol part from 29-32 is also the shape of the cadence figure (it's similar) at bars 7-8 and 22-24 of the Galliard

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The pavane is in 2/2 (duple) and the galliard in 3/2 (triple)
In the pavane, the top four parts move smoothly, with combinations mainly of crotchets, minims and dotted minims
The galliard has extensive use of dotted crotchet-quaver rhythms in the first strain
The galliard has in bars 1-2 and 5-6, examples of very close rhythmic imitation which give the feel of syncopation (first treble and bass parts)
Bars 6-7 of the Galliard are typified by use of a hemiola pattern (three bars of duple time rather than two of triple time)
Hemiolas occur at the end of each of the other two strains

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