Holbourne - P&G

Structure - dance style w/ 2 contrasting sections
p = slower, duple time
G= faster, triple time

Instrumentation - 5 part viol consort

Written before maj & min tonality was developed, based on modes - DORIAN mode
(although stilll evidence for functional harmony)

Simple diatonic harmony - use of perfect cadences, phrygian cadence, Tierce de Picardie

Melody - short pitch range, conjunct movement

Texture - 5 part viol consort, use of imitation

Pavane:

Strain 1: 16 bars x 2
Strain 2: 17 bars x 2
Strain 3: 26 bars x 2

GalliardL

Strain 1: 8 bars x 2
Strain 2: 8 bars x 2
Strain 3: 8 bars x 2 

Pavane:
Strain 1: Solidly in D maj - hints at A & G
Strain 2: Tonal contrast - introduces Cnaturals - producing near false relations.
             - Ends with perfect cadence in A 
Strain 3: Solidly in D maj - hints at A 

Galliard: D tonic - minor tonality - dorian mode
Strain 1: D minor, perfect cadence, Tierce de Picardie
Strain 2: A minor - perfect cadence, Tierce de Picardie & ends with Phrygian cadence in  D
Strain 3: F major (4 bars), D minor (4 bars) - perfect cadence & Tierce de Picardie 

Triads - root position/ 1st inversion

Chords often decorated with passing notes

Suspensions - ornamental resolutions & accented dissonance

Perfect cadences - predates functional harmony but still use of it

False relations - Cnaturals & C#'s - tonal contrast / ambigutity 

5 part consistantly (few rests)

Clearly layered - each part has a range that rarely overlaps

2nd strain of Galliard - homophonic & dance like

Contrapuntal - use of imitation 

Pavane - mostly conjunct in upper 4 parts
            - small leaps in bass
Bass - 4th's and 5th's - different character - defines harmony

Balanced lines

Galliard: bottom line plays less of a 'bass' role

melodic inversion is used (eg, galliard bar 1) 

Pavane:  - simple duple time
-Rhythmically smooth & flowing
- minims, crotchets, dotted minums
- no rests

Galliard: - faster triple time
-lively dotted crotchets - quaver rhythm, - befits character
-syncopation is used in both but more strictly in galliard where 4th part has phrases beginning on weak beat.
- use of hemiolas