Sweelinck

Question 1

Nationality

Answer 1

Dutch

Question 2

Definition of Pavane Lachrimae

Answer 2

Pavane- stately dance in slow duple metre

Question 3

Based on

Answer 3

John Dowland’s ‘Flow my Tears’

Question 4

Structure and name of each section

Answer 4

Tripartite AA BB CC (Very common for instrumental works in the Renaissance era)

Strains (A and A1 is one strain)

Question 5

Bar numbers for the structure

Answer 5

A: 1-16
A1: 17-32
B: 33-48
B1:49-64
C:65-81
C1: 82-98

Question 6

Tonality

6

Answer 6

• not functional, before major/ minor
• Aeolian / A minor
• root position or 1st inversion chords
• all sections with a perfect cadence (tierce de picardie)
• imperfect / Phrygian cadences in bar 2, 4 and 6
• Musica Ficta: notated without a key signature but accidentals are added to make the harmony correct at cadences
• false relations. E.g. G naturals and sharps in bar 96

Question 7

Keys

Answer 7

Strain 1: A minor
Strain 2: C major
Strain 3: E major

Question 8

Melody

11

Answer 8

• same melody as ‘Flow my tears’ but with added passing notes (bar 5)
• stepwise movement
• conjunct
• embellishments (bar 10 and 14)
• falling 4th ‘Lachrimae’ motif (bar 1)
• inversion e.g. strain 3 begins with ‘Lachrimae’ motif inverted
• ornaments e.g. trills written out in bar 30
• developed by adding an anacrusis to bars 55-57
• not regular phrasing throughout as section C has 17 bars rather than 16
• sequences (bar 23-24)
• counter melody in inner parts

Question 9

Harmony

8

Answer 9

• diatonic, moves in chords
• occasional dissonance. False relation causes ambiguity. Clashes are a result of linear thinking of Renaissance composers.
• 4-3, 7-6 and 9-8 suspensions always reslove. e.g. bar 5 and 6
• tierce de picardie (bar 8)
• modality suggested by use of chord III and VII and progressions such as I-III
• open triads missing a third
• passing and auxiliary notes
• consonant 4th in bar 67-8 as an A natural is held in the top part. Renaissance harmonic feature

Question 10

Instrumentation
Idiomatic for harpsichord because…
8

Answer 10

• no dynamics
• four distinct parts to create a four part texture (SATB)
• imitation between parts (alto and soprano bar 9-11)
• written out ornamentation (trills and turns at cadence points, bar 14 and 15)
• fills in open 4ths with Lachrimae motif (bar 5)
• diminution in sop, alto and tenor of the Lachrimae motif (bar 5)
• keyboards of 16th and 17th century could not sustain chords. longer notes are embellished with ornamentation. e.g. running quavers and imitation between hands in bar 17-19
• parallel movement bar 22

Question 11

Rhythm and Metre

4

Answer 11

• duple time
• minims, crotchets and quavers. Occasional dotted rhythms (bar 37)
• diminution of Lachrimae motif. Also, of bar 14 semiquavers are demisemiquavers in bar 30
• constant stream of semiquavers from bar 25
• syncopation (bar 56-7)

Question 12

Texture

6

Answer 12

• four parts, mostly contrapuntal
• interweaving linear writing
• frequent imitation e.g.
  soprano and bass bar 17-19
  soprano and tenor bar 23-24
  alto and soprano bar 34-35
  all parts bar 40-41
  imitation in 3rds and 6th bar 39-41
• thinner texture when there are decorative semiquaver runs (bars 23-30)
• occasional homophony (94-end)
• usually 3-5 part writing. 2 part writing in bar 79