134685
Holborne Pavane 'The image of melancholy' and Galliard 'Ecce quam bonum'
- Texture
- Five-part polyphonic
- imitation between parts
- Bar 1, beat 2: first bass viol imitates first treble viol
- Bar 18, beat 1: second treble viol imitates first treble viol
- Bar 1, beat 2: first bass viol imitates first treble viol
- The five instruments mainly keep to their own tier within the texture
- Exceptions are in bars 35-36 and 41-42 of the Pavan, where the tenor viol part goes above both the treble viols.
- Exceptions are in bars 35-36 and 41-42 of the Pavan, where the tenor viol part goes above both the treble viols.
- Bar 17 of Galliard, the tenor viol imitates the first treble viol at a distance of one beat, while the first bass viol begins with the descending scale, and then has the leap of a fourth and descending scale in bar 18.
- Five-part polyphonic
- Structure and Tonality
- Each movement has three repeated sections (or 'strains')
- Pavan
- Each movement has three repeated sections (or 'strains')
- Harmony
- 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 a logical harmonic structure, particularly at the cadences
- Linear approach
- Accented and unaccented passing notes
- accented in the Pavan, bar 1 with the C sharp in the first treble viol
- unaccented in the Galliard, bar 1, with the D in the first treble viol
- accented in the Pavan, bar 1 with the C sharp in the first treble viol
- Suspensions
- Pavan Bar 3, 7-6 suspension in the first treble viol part
- Bar 5, 4-3 suspension in the second treble viol part
- Pavan Bar 3, 7-6 suspension in the first treble viol part
- False relation occurs in the Pavan at bar 11 (tenor viol C sharp beat 1, first treble viol C natural beat 2)
- 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 a logical harmonic structure, particularly at the cadences
- Melody
- Stepwise
- Intervals are never wider than a perfect fifth except for the occasional use of an octave
- Vocal in character
- In the Pavan, the first treble viol part has an overall compass of a ninth. In the Galliard, this is even narrower - a seventh.
- In the Pavan, the first treble viol part has an overall compass of a ninth. In the Galliard, this is even narrower - a seventh.
- Vocal in character
- Intervals are never wider than a perfect fifth except for the occasional use of an octave
- Some inversion of melodic figures.
- Bars 17-19 (first treble and tenor viol) and 24-26 (treble, tenor and first bass)
- Bars 17-19 (first treble and tenor viol) and 24-26 (treble, tenor and first bass)
- Conjunct melodic writing.
- In the first treble viol part, there is only one non-conjunct interval in the first strain of the Pavan and only two in the second
- In the first treble viol part, there is only one non-conjunct interval in the first strain of the Pavan and only two in the second
- Stepwise
- Rhythm and Metre
- Pavan in duple time and Galliard in triple
- Rhythmic character of the two movements differs considerably, reflecting the very different moods of each one
- Within each part, rhythmic patterns are rarely repeated from one bar to the next
- resembles writing for voices
- Galliard has extensive use of dotted crotchet-quaver rhythms in the first strain
- Bar 13 of Galliard all five parts have the same rhythm (homorhythm).
- 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 Galliard typified by use of a hemiola pattern. Other examples include bars 14-15 and 22-23
- Pavan in duple time and Galliard in triple
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