Pavane and Galliard - Holborne
A2 Instrumental Set Works 2011
- Created by: Joe
- Created on: 22-06-11 18:27
Introduction
- Consort music
- Consort of Viols
- Pavan and Galliard commonly dance formed (either singly or paired)
- 16th and early 17th century
- Early Elizabethan examples were in simple homophonic
- Towards end of the 16th century was more contrapuntal
- Pavane often first dance in group and followed by a faster triple time dance
- Pavane usually more melancholic Galliard more cheerful
Forces and Handling of instruments: I
- The 2 movements intended for a consort of 5 instruments
- viols
- violins
- wind instruments e.g. recorders
- The movements lend best to a consort of viols
- Pavane and Galliard would be played by:
- 2 treble viols
- 1 tenor viol
- 2 bass viols
- Viols are bowed with frets
- Played on the lap or between the legs
- Flat back
Forces and Handling of instruments: II
- Usually a flat back
- Usually 6 strings
- Tuning:
- Treble: d - g - c' - e' - a' - d''
- Tenor: G - c - f - a - d' - g'
- Bass: D - G - c - e - a - d'
- Bow curves outwards from the hair and the bow is held differently to a violin
Texture: I
- 5 part polyphonic
- Imitation between parts but not like in a fugue or fugato
- Little crossing of parts
- The 5 instruments stay to their own tier within the texture
- Occasional exceptions e.g. bars 35-36 and 41-42 of the Pavan
- The Tenor viol goes above both the treble viols
Texture: II
- Imitation can be heard in
Pavane
First strain/section
- Bar 1 beat 2: 1st bass viol imitates 1st treble viol
- Bar 4, beat 2: 2nd treble viol imitates 1st treble viol (bar 3, beat 2)
- Bar 5, beat 2: 1st bass viol imitates 1st treble viol (bar 3, beat 2)
Second strain
- Bar 18, beat 1: 2nd treble viol imitates 1st treble viol (bar 17)
- Entry of tenor viol bar 17 = 5 note figure
- Used frequently from:
- bar 24 beat 2 (1st treble viol)
- bar 25 beat 1 (2nd treble viol)
- bar 26 beat 1 (2nd bass viol)
Texture: III
Pavane
Third strain
- 5 note strain used frequently
- Return of suspension figure from 1st section from bar 47 beat 2
Galliard
First strain
- 5 note figure bar 1 (1st treble viol)
- Followed by ascending leap of 4th = main point
- Entries in other parts at bar 1, beat 2, 3 and bar 2 beat 1
- This also occurs in inversion in bar 1, 2nd half of the 1st beat
Texture: IV
Galliard
Second strain
- More chordal and less imitation
- Parts have more melodic interest
Third strain
- Main point starts with ascending leap of a 4th and then a descending scale
- Bar 17 - tenor imitates 1st treble at a distance of one beat
- 1st bass viol has descending scale & then leap of a 4th & descent bar 18
Structure and Tonality: I
Pavane
1st strain:
16 bars. D major & brief modulations to:
- A major (bar 10)
- G major (bar 11 beat 2 - Bar 13 beat 1)
- A major again (bar 13 beat 2 - bar 14 beat 1)
- Back to D (bar 14 beat 2)
2nd strain = 17 bars
- G major (bars 17-20, beat 1)
- D major (bars 20, beat 2 - 23, beat 1)
- A minor (bars 23, beat 2 - 24, beat 2)
- A major (bar 25)
- E minor (bars 27 - 28)
- D major (bars 28 - 31)
- A major (bars 31 - 33)
Structure and Tonality: II
Pavane
3rd strain = 26
- D major (bars 34 - 46)
- G major (bars 46 - 47)
- A major (bars 47 - 51)
- D major (bars 51 - 53)
- A major (bar 53)
- D major (bars 54 - 59)
- Each strain has a perfect cadence
Structure and Tonality: III
Galliard
1st strain - 8 bars
- 2 phrases
- 1st phrase finishes wiht an imperfect cadence
- 2nd phrase with perfect cadence
- Tonality = more modal
- Dorian with sharpened 7th
- Final chord has tierce de picardie
Structure and Tonality: IV
Galliard
2nd strain - 8 bars
- 1st phrase finishes with a perfect cadence
- 2nd phrase finishes with Phrygian candence in D minor
- More diatonic
- Tonal centre is D major
Structure and Tonality: V
Galliard
2nd strain - 8 bars
- A minor (bar 9)
- D minor (bar 10)
- A minor (bar 11)
- Tierce de picardie (bar 12)
3rd strain - 8 bars
- 1st ends with an imperfect cadence in F major
- 2nd ends with perfect cadence in D minor
- Rhythmic augmentation (bars 21 - 24)
- Briefly moves to C major (bars 21-22)
- Returns to D minor (bar 23)
Harmony
- Functional
- Accented and unaccented passing notes
- Accented bar 1 of the Pavan (C# in 1st treble viol)
- Unaccented bar 1 of the Galliard (D in the 1st treble viol)
- Suspensions
- Pavane bar 3 (7-6 suspension)
-Tied notes = unexpected harmonic effects without dissonances
- e.g. F# in tenor viol at bar 3, beat 1 where expected chord of A, with an E is delayed until the 2nd crotchet beat
- False relation = Pavane bar 11
Melody: I
- Mainly conjunct in all parts; particularly the 1st treble viol
- Intervals are never wider than a perfect 5th where melodic leaps occur (except for occasional octave)
- 2 successive leaps of a 5th (Pavane bar 31) = unusual
- 2nd bass viol is like a Baroque bass line
- Use of pedal points
- Leaps of 4ths and 5ths
- Less true in Galliard
- Narrow melodic range
- 1st treble viol of a 9th in Pavane
- only a 7th in Galliard
- No obvious melodic links between the 2 movements
Rhythm & metre
- Pavane = duple time
- Galliard = triple time
- In the Pavane, top 4 parts move smoothly
- mainly crotchets, minims and dotted minims
- occasional pair of quavers or a semibreve
- Only in tenor and 1st bass there are examples of crotchet-quaver
- Rarely repeated rhythmic patterns
- Galliard has extensive use of dotted crotchets-quaver rhythms
- Homorhythmic in bar 13 of Galliard
Rhythm and metre II
- Galliard goes to 6/4 time in bar 3
- Hemiola in bars 6-7 of Galliard.
-Hemiolas also at the end of each of the other 2 strains i.e. bars 14-15, 22-23
- Galliard has close rhythmic imitation e.g. bars 1-2 and 5-6
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