Holbourne - Pavane and Galliard.

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Pavane - Facts

  • 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#.
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Pavane - STRAIN A

  • 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.
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Pavane - STRAIN B

  • 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.
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Pavane - STRAIN B

  • 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.
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Pavane - STRAIN C + HARMONY

  • 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.
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Galliard

  • 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.
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Galliard - Cadences and Rhythm.

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.
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