purcell first movement

structure, form, style, texture

Movement in style of gigue with fugue influences (compound time). The texture frequently changes:monophonic to start to define melodic idea (Vln.1) then viola joins (2 part counterpoint and imitation) then violin 2 joins (3 part counterpoint) then b.c and cello (4 part counterpoint). Trumpet joins at b13 and engages in antiphony with ripieno from b16

structure, form, style, texture Part 2

B.27-32 is polarised/melody and accomp.

From b32 no bc but a 3 part counterpoint

B47-58 is melody and accomp

B59 is homophonic

B65 is antiphonal (trumpet to ripieno)

B76 is melody and accomp till end

Harmony and tonality

Harmony until bar 11 is all diatonic. bar 11 has express dissonance. bar 11 equals 9-8 suspensions. bar 12 equals 7-6. bar 14 equals 7-6. Bar 15 equals 7-6. the cadence point at bar 26 is missing a 4-3 suspension. bar 44 has a 4-3 suspension at the cadence point. bar 54 to 55 has a sea natural to see sharp false relation (one note followed by the climatic alteration of that same note) bar 60 equals parallel thirds in violin one and two and 9-8 suspension in Viola. bar 63 equals dominant seventh on beat 2. Bar 77 has a 43 suspension at the cadence point (penultimate). ends on a perfect cadence

Melody and motifs

This movement has two main melodic ideas. The first melody is presented in bar one to 3. It is conjunct descending but part of a three bar ascending sequence. The second melodic idea is presented at bar 17. It is descending, triadic, and part of a descending sequence. It also has a semi quaver accompaniment, and at a quieter dynamic. Bar 28 to 30 is a melodic sequence. Bar 33 is an inversion of Melody one (so is bar 47). The final cadence point has all four cadence point motives from movement one: 4-3 suspension, dotted rhythms, trail, and note of anticipation.