Holborne Pavane 'The image of melancholy' and Galliard 'Ecce quam bonum'
1.1 Five-part polyphonic
1.2 imitation between parts
1.2.1 Bar 1, beat 2: first bass viol imitates first treble viol
1.2.2 Bar 18, beat 1: second treble viol imitates first treble viol
1.3 The five instruments mainly keep to their own tier within the texture
1.3.1 Exceptions are in bars 35-36 and 41-42 of the Pavan, where the tenor viol part goes above both the treble viols.
1.4 Bar 17 of Galliard, the tenor viol imitates the first treble viol at a distance of one beat, while the first bass viol begins with the descending scale, and then has the leap of a fourth and descending scale in bar 18.
2 Structure and Tonality
2.1 Each movement has three repeated sections (or 'strains')
3.1 The harmonic character of the music is largely created by the polyphonic movement of the parts, though at times there is a strong sense of a logical harmonic structure, particularly at the cadences
3.2 Linear approach
3.3 Accented and unaccented passing notes
3.3.1 accented in the Pavan, bar 1 with the C sharp in the first treble viol
3.3.2 unaccented in the Galliard, bar 1, with the D in the first treble viol
3.4.1 Pavan Bar 3, 7-6 suspension in the first treble viol part
3.4.2 Bar 5, 4-3 suspension in the second treble viol part
3.5 False relation occurs in the Pavan at bar 11 (tenor viol C sharp beat 1, first treble viol C natural beat 2)
4.1.1 Intervals are never wider than a perfect fifth except for the occasional use of an octave
18.104.22.168 Vocal in character
22.214.171.124.1 In the Pavan, the first treble viol part has an overall compass of a ninth. In the Galliard, this is even narrower - a seventh.
4.2 Some inversion of melodic figures.
4.2.1 Bars 17-19 (first treble and tenor viol) and 24-26 (treble, tenor and first bass)
4.3 Conjunct melodic writing.
4.3.1 In the first treble viol part, there is only one non-conjunct interval in the first strain of the Pavan and only two in the second
5 Rhythm and Metre
5.1 Pavan in duple time and Galliard in triple
5.2 Rhythmic character of the two movements differs considerably, reflecting the very different moods of each one
5.3 Within each part, rhythmic patterns are rarely repeated from one bar to the next
5.4 resembles writing for voices
5.5 Galliard has extensive use of dotted crotchet-quaver rhythms in the first strain
5.6 Bar 13 of Galliard all five parts have the same rhythm (homorhythm).
5.7 The Galliard has, in bars 1-2 and 5-6, examples of very close rhythmic imitation which give the feel of syncopation (first treble and bass parts
5.8 Bars 6-7 of Galliard typified by use of a hemiola pattern. Other examples include bars 14-15 and 22-23