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Overall we have a narrow range of a 9th, where is the lowest and highest notes, anything significant about the highest note?
Word setting is almost all syllabic throughout, and uses word painting to make the song more effective
So much about this piece, all based around one simple motif - Based on the falling melodic minor, a short descent of a 4th. Because of this we have structural unity throughout.
Tear motif appears straight away with Flow my teares.
What happens to this motif in the following places:
12-14, as we know, is a section where we have dialogue and imitation between the Voice and Lute.
What about the word painting at this point? What could the rests convey?
Rhythm is used flexibly during this piece to give a declamatory character to the text.
Almost entirely Syllabic throughout the piece, the recording may have some slight embellishments but not much.
Some little ornamental figures may appear, but only near cadences. Can you find an example?
It may not seem like it, but we have examples of dotted rhythms and syncopation in this piece. Can you find examples of both
Rhythmically something bizarre happens, in Bar 19, what is not right? Compare to the bars either side.
Not loads on Texture but we have some interesting things.
Texture is predominantly Melody and Accompaniment.
However, the Lute part is far more contrapuntal than Homophonic. What does this mean? Perhaps look in the opening bars.
Section B has some really interesting textural points. Compare the voice and upper Lute part between 12-14, what do you deduce here?
1st Listening:
How many instruments? what are they?
Relationships between instruments, who has bass, who has melody? what are their roles?
Is it tonal?, is it major/minor?
How many beats in a bar? Time Signature?
Rough Structure?
2nd Listening:
Structure?
Melody - Stepwise/leaps?
Rhythm - anything interesting? Syncopation? tempo? rubato? ornaments?
Harmonies - types of chords used? does it change tonality?
Texture? Homophonic? Polyphonic? Heterophonic?
Cadences? Perfect (V-I)? Imperfect (Anything - V)?, Plagal (IV-I)?, Interrupted Cadence (V-VI)?
3rd Listening:
Anything specific about the bass part, anything interesting?
How often do the chords change?
Articulation? Where are the stresses (which beats)
Phrase structure? Where are natural breathing points?
Style? Why?
Typical Pavane Structure - AA, BB, CC. Looking at your Score, where might the sections end and begin?
A Slow, Quadruptle-time dance of the Renaissance era
It usually consists of 3 repeated sections, usually called strains
AA BB CC
This is intended for a Lute, and Solo Voice. We have a Countertenor in this. These are higher than Tenors!!
It could also have a bass part for either a second singer (or as the recording has a bass Viol)
This piece was published in 1600, what do we know about music like this from this time?
This song began its life as a Pavane for Solo Lute, around 1594 and was a HUGE hit.
NAM 20 (piece by Sweelinck in the Anthology) has a massive influence on this piece, although Dowland wrote it first without words.
1. Cadence use - Section A and C - Both have Perfect Cadences. what is special about these though?
2. Section B - NEW TYPE OF CADENCE - IVb going to V. Very Specific about this. It happens between 15 beat 4 -> 16. We call this a Phrygian Cadence.
3. What is weird about bars 5 and 6 as an example? (Tip look between the Lute and the Voice). What we have is something very expressive.
4. We have the use of suspensions, and a dominant pedal. Where is this pedal and what note is being the pedal note?
5. In this piece most chords are in either root position or 1st inversion. There is however one second inversion chord, can you find it. Hint: Look in the middle of Section C.
We would normally expect: