A Level Music: Pavane Lachrimae by Sweelinck

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When was this piece composed?
1615: Renaissance
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What was this piece intended for?
Domestic/educational use
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Explain what a Pavane is
A slow processional dance of the late Renaissance, yet Sweelinck's piece wouldn't have been used for dancing
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Explain what 'Lachrimae' means
Refers to the image of falling tears
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What is this a varied and embellished version of?
Dowland's music, Sweelinck's contemporary
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Name the resources
Manual harpsichord: suits the style and secular character of the music
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What is the range of this piece?
3 octaves, from G (bottom line of bass stave) to G (octave and 1/2 above middle C)
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How often is top G used?
Only once: bar 96 - used for climactic intent in a passage featuring rising scalic figures
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Is there are idiomatic writing?
The variations (A1, B1 and C1) are written in a more idiomatic keyboard style.
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Explain the structure
3 sections: A, B, C, which are then repeated and varied rather than 'straight' repetition
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Are the printed note values of Flow my Tears doubled or halved in the pavane?
Doubled: 1-8 of song = 1-16 of pavane
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A and A1 Sections:
Bars 1-16 + 17-32, both end on a perfect cadence in A, tierce de picardie
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B and B1 Sections:
Bars 33-48 + 49-64, both end on an imperfect cadence in A minor (phrygian, IVb-V, substitute perfect cadences)
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C and C1 Sections:
Bars 65-81 + 82-98, both end on a perfect cadence in A, tierce de picardie
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Describe the tonality
Renaissance modality, i.e. before the major/minor system. 3 interpretations: 1) A minor, no key sig & sounds minor 2) A minor with modal (aeolian) elements (more G naturals than G#s) 3) Aeolian mode: G naturals explained, G#s chromatic
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Why does uncertainty arise with the tonality?
The mixture of G naturals and G#s is unusual for a major/minor key system with functional harmony
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Are there any false relations?
G# and G Natural, e.g. bars 10 and 96
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Is there any tonal contrast?
Yes, at start of B section, which in modern terms begins in C major. There is also a brief visit to G major in bars 9-10: sounds modal
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List features of the harmony (6)
Tierce de picardie (bar 16), most chords are triads in root/1st inversion, cadential trills, cadences are either perfect/imperfect, only dissonance on minims are suspensions (bars 89-92), other non-chord notes are passing or auxiliary notes
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Is there much rhythmic variety?
Yes
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What are the typical note lengths in this piece?
Passages and sections generally begin with semibreves, minims, crotchets and a few quavers. Often continuous semiquavers in one part for display/decoration. Cadential trills involving 8 demisemiquavers (bars 30 and 45)
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What is the metre?
4/4
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Describe the texture
Most passages are in free counterpoint with occasional imitative entries (bars 3 and 4), melody supported by the bass in semibreves (bars 1-4). Inner parts have some contrapuntal interest.
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Describe the number of parts
Most of piece is in 4 parts: similar to 4-part vocal writing (SATB). However, no. of parts changes. Florid passages sometimes in 3 parts and at beginnings and ends of some sections a 5th part is added.
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Is there a canon?
Yes, a short one between soprano and bass: bar 91
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Is the writing stepwise or disjunct?
Mostly conjunct with occasional leaps, e.g. a rising minor 6th in bar 2, which follows a falling, stepwise perfect 4th which is meant to represent tears.
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Explain the melody
Imitation, short repeated patterns in sequence (bar 17 where there is sequential treatment of a 3-note descending scalic figure), most florid passages cover quite a small range
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Mention the variation techniques
Additional notes between pairs of notes, which is borrowed from Dowland's melody
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Other cards in this set

Card 2

Front

What was this piece intended for?

Back

Domestic/educational use

Card 3

Front

Explain what a Pavane is

Back

Preview of the front of card 3

Card 4

Front

Explain what 'Lachrimae' means

Back

Preview of the front of card 4

Card 5

Front

What is this a varied and embellished version of?

Back

Preview of the front of card 5
View more cards

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