Holbourne - Pavane and Galliard.

• Published in 1599.
• Consort music - not actually designed for dancing.
• Sedate in character, duple mere, 3 sections.
• Decoration added in on the repeat of each section.
• Unsophisticated timbre.
• In D major, lots of modulation - added G#.

• Opening melody - dotted rhythm descending stepwise from tonic to dominant - imitation within counterpoint. 
• Dense polyphonic texture with lots of imitation within them - 5 PART COUNTERPOINT.
• Suspension in bar 8 - D carried through from bar 7 to 8.
• Bar 11 - false relation. 
  • Passing modulation to A minor.
• Bar 13 - false relation
  • A clash of notes a semmitone apart in 2 different parts either simultaneously or in close succession. 
• PERFECT CADENCE AT THE END OF THE SECTION.

• Opening melody - dotted rhythm descending stepwise from tonic to dominant.
• Imitation inversion, bar 18 alto clef.
• False relation in bar 18.
• Closing cadence - perfect in A major, 
• Suspension and syncopation in bar 31
• 1 bar longer than strain A.

• Opening melody - dotted rhythm descending stepwise from tonic to dominant.
• Imitation inversion, bar 18 alto clef.
• False relation in bar 18.
• Closing cadence - perfect in A major, 
• Suspension and syncopation in bar 31
• 1 bar longer than strain A.

• Melody in alto clef - starts on tonic (same as other 2 strains) and ascends to dominant.
• Dotted rhythm ascending stepwise from tonic to dominant.
• Imitation between parts.
• Same texture, same ideas, same devices.
• Bottom bass plays tonic pedal (b34-39) then ascends to the dominant but it augmented (b40-41)
• Dominant pedal in b54-57.
• Suspension b56-57
• Perfect cadence.

Harmony

• Passing notes
• Suspensions
• Overlaps parts - soprano and alto
• Big jumps/difficult leaps - using the root of the chords in the bass part.

• A dance not to be danced to.
• Popular in renaissance - 16th/17th century.
• Lively and fast.
• 3/2 triple time.
• Lots of syncopation.
• Improvised/decorated the melody in the repeats.
• D minor - TIERCE DE PICCARDIE.
• All 8 bar phrases - AABBCC - regular phrasing.
• Homophonic bads 9-16.
  • only time it moves from 5 part counterpoint.
• Bars 9-12: A minor.
• Bars 17-21: F major.
• Imitation.

Cadences. 

• Section A - perfect cadence - tierce de piccardie.
• Section B - (lower auxilliary note) 4b to 5 - PHRYGIAN MODE.
• Section C - perfect cadence - tierce de piccardie. 

Rhythm.

• 3/2 - 3 minims a bar - triple time.
• Syncopation in bars 3 and 7.
• Bar 1 - first bass line is out by half a beat.
  • syncopation - bars 1,2,5,6 - all in first bass
• Bars 10-11 - hemiola - also in bars 14 and 15.