Sweelinck 1615: Pavana Lachrimae- Structure, Tonality, Rhythm & Instrumentation
- Created by: Rachie S
- Created on: 27-01-17 12:18
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- Sweelinck 1615: Pavana Lachrimae: Structure, Tonality, Rhythm & Instrumentation
- MKR ST: Tonality
- Modulations
- Modulation to the relative major, C
- Bar 33
- Modulation to the relative major, C
- Key
- A minor, though the modal inflections of G natural's suggest A Aeolian
- Reinforcement of Tonality
- False relations appear using G#'s and G naturals in consecutive chords
- Bar 12
- False relations appear using G#'s and G naturals in consecutive chords
- Speed of Tonality
- The modulation to C major moves quickly back to A minor
- Bar 37
- The C# in bar 38 may suggest D minor.
- However, it is a melodic feature as it echoes the G# in the previous bar
- The modulation to C major moves quickly back to A minor
- Tonality Clear?
- The rapid changes between G# and natural undermine the tonality
- However, this is common of modal music
- Bars 6-8
- The rapid changes between G# and natural undermine the tonality
- Modulations
- Structure: STORC
- Section Articulation
- Cadences articulate sections
- Phrygian at bars 46/47
- Perfect at bars 30/31 & 79/80
- Tierce de Picardie's at the end of sections
- All apart from the end of B
- Cadences articulate sections
- Tonal Structure
- Stays in A minor
- Moves to C major at bar 33
- Stays in A minor
- Overall Structure
- The piece follows the original structure with 3 repeated strains though each strain has a variation
- AA'BB'CC'
- A & B last 16 regular bars while C is 17
- After the first 4 bars internal divisions aren't always regular
- The piece follows the original structure with 3 repeated strains though each strain has a variation
- Repetitions
- Repetition occurs in each strain and follows the original harmonic structure
- Contrast
- The main contrast is from the faster rhythmic movement in the variations
- Section Articulation
- H TAPPD: Rhythm
- Harmonic Rhythm
- Steady harmonic rhythm with 1 or 2 chords per bar
- There is 1 chord in bars 1-2
- Steady harmonic rhythm with 1 or 2 chords per bar
- Tempo & Metre
- Moderate tempo in common time
- Activity Level
- Variations are dramatically busier than the originals
- Bar 15 has 2 tied semi-breves with more active lower parts
- Bars 23-31 have continuous semi-quavers with some demi-semi
- Variations are dramatically busier than the originals
- Phrase Length
- Strains 1 & 2 are 16 bars long while strain 3 is 17. Divisions are also irregular
- The 3rd phrase of section B starts at bar 39
- Strains 1 & 2 are 16 bars long while strain 3 is 17. Divisions are also irregular
- Predominating Notes/ Rhythms
- A common rhythm is quaver + 2 semi-quavers
- Devices
- Rhythmic diminution is used
- Evident in the variations eg bars 30-35
- Bar 38
- Syncopation is used in which notes are tied over to the 1st beat of the bar
- Minim suspension at bar 37
- Bar 6
- Rhythmic diminution is used
- Harmonic Rhythm
- GC VIP: Instrumentation
- Groupings/ Roles
- N/A
- Combination
- Single manual harpsichord pieces are common
- Could be played on the organ
- Single manual harpsichord pieces are common
- Virtuosic Writing
- The faster variation passages are more virtuosic than the original strains
- Still fairly comfortable though
- The faster variation passages are more virtuosic than the original strains
- Interesting Writing
- Typical writing & range of contemporary Dutch harpsichords
- Though the bass line is sometimes an octave higher to be playable on modern instruments
- Typical writing & range of contemporary Dutch harpsichords
- Performance Indications
- There are no performance indications as is common in the Late Renaissance/Early Baroque
- Groupings/ Roles
- MKR ST: Tonality
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