When was this piece written and who was it written for?
1599. Would have been enjoyed at home by the educated classes.
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What is the structure of both movements?
AABBCC
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Tonality of the Pavane?
1-16:Dmaj. 17-33:Gmaj through Eminor (27-28) and closing in Dominant A major in 32. 34-59 Dmaj with tonic pedal 34-39, hints at A maj in 48 and 53 before back to D major with dom pedal 54-57- Perf cadence at end.
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Tonality of Galliard?
1-8:Dminor with a T de P in bar 8 (maj chord at end of phrase in minor key) 9-16:A minor with chromatic C# in bar 10 and T de P in bar 12, ending with a phrygian cadence in bar 16 (IVb-v). 17-24:opens in F maj but ends in D minor-T de P at end.
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Harmony of both pieces?
Chords mostly in root position and first inversion predominate. Suspensions occur as on the beat dissonances- bar 4. False relations (bar 11- C# and C). Mainly perfect cadences except Phrygian.
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Melody of both pieces?
Pavane opens with melody passing through a falling fourth. This was a motif used to express melancholy. The melodies in gen are conjunct and falling back on themselves if they needed to leap- bars 24-25. Melodic sequence used in 21-22 of Galliard.
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Rhythm of both pieces?
Pavane- simple rhythm- gentle syncopations-bar19. Galliard is immediately livelier with dotted rhythms and syncopations. Second strain of G appears much simpler- homophonic texture but subtle hemiolas in 10-11 and 13-14.
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What are the two varieties of syncopation used in the Galliard?
1st- Off-beat dotted rhythm entry- i.e.- bars 1 and 2 (4th voice). 2nd- the change of the pulse from 3/2 i.e bars 1 and 2 to 6/4 i.e. bar 3.
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Texture of Pavane?
Both are written in 5 part texture. There is an enormous density of these textures with very little rests. In the P- clear use of imitation, creating a contrapuntal texture. Inversion of the original motif in bar 35.
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Texture of Galliard?
The Galliard opens and closes in 5 part imitative counterpoint but then the B section is more homophonic.
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