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Holborne: Pavane and Galliard (p.

191) Context Music for a consort typically of viols, as on the recording, but the pieces could be played by recorders or a mixture of available instruments Intended for domestic performance. Being able to perform music was considered a mark of an educated person in Eli abethan times. !he pairing of a Pavane "slow duple time# with a Galliard "lively triple time# was very common in $%&. Both are dances, but the music here was never intended for dancing' they are elaborate instrumental interpretations of dance forms, similar in that respect to the sarabandes and gigues of the $%( Baro)ue suite

Structure Both pieces have three repeated sections. In the *avane the final section is much longer than the first two +ll three sections of the galliard are ( bars long

Texture Polyphonic the music is largely spun from the interweaving of melodic lines, each instrument with its own independent part. !he only exception is the middle section of the ,alliard, which is more ho ophonic, though with some part movement ! itation is the key techni)ue one line copying another, overlapping each other see parts % and - in the opening bars of the *avane, for example !he fifth part is generally less active and rests on a single note between bars .-/0 and 1-/2 of the *avane and bars %2/( of the ,allliard

"elody 3argely con#unct melodic lines not so far from the vocal music of the time, especially in the *avane !he opening four notes of line % in the *avane are taken from 4owland5s song Flow my tears "+nthology p..-2# which had been published during the %106s and had become very famous "hence the *avane5s title The image of melancholy#

$hyth 7luid in the *avane. +lthough there are regular barlines, the music is not necessarily bound by them in b..1, for example, part % would stress the third beat of the bar, imitating part 8 at a minim5s distance 9hythms in the ,alliard are more complex, and the interweaving of rhythmic patterns is sometimes very intricate, as in b.%/8, for example !here are many he iolas in the ,alliard ".:8 changing to &:-, as in b.# ony % tonality 4iatonic 4 ma;or in the *avane and + minor:ma;or in the ,alliard !he music was composed towards the end of the 9enaissance and at the time when the odal system, with its scales beginning on different white notes, was giving way to the ma;or/minor system which was used throughout the $%2/%0 and is still important in $8% !he music is composed a lines, rather than as a tune over a series of chords, and the harmonic rhythm is fluid "unlike that of <aydn5s symphony, which changes chords once or twice per bar, for the most part# !he three sections of both pieces end with a clear cadence in the following keys= 4 + 4 Most sections end with a per&ect cadence "> I# !he exception is the second section of the ,alliard. It uses a phrygian cadence "I>b > in 4# which is an old version of an i per&ect cadence +lthough much of the time the interweaving parts create simple triads, there are also a lot of dissonances in the form of suspensions and passin' notes +nother harmonic feature are the occasional &alse relations, such as the $ sharp $ natural in bar %% of the *avane

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