Notes on Purcells Chacony in G minor:

Lacks contrapuntal: to hear rhythms and turns of the melody and ground
bass
It was intended to be performed without continuo: without a bass part (eg a
keyboard or a stringed instrument)
Purcell employs chromatic alterations within the key of G minor
These are harmonizes with great freedom and imagination each time they
occur

Variation 1:

Introduces the ground bass: learn it

The upper parts move in f part texture above the ground: played on the cello

Variation 2:

Parts move in 4 part texture

Use dotted rhythm a (learn a) but:
o The second violin and the viola present the dotted crotchet figure
presented in the first beat of the bar (learn), in contrast to the
syncopated rhythm of the outer parts

Variation 3:

Parts move together in 4 part texture

Maintain the double-dotted syncopated rhythm (a)
The perfect cadence (ie the last two bars of the variation) is embellished with
notes of decoration.

Variation 4:

The first violin presents a new pattern in its accompanying note: is played
throughout the variation
(learn it )
The other parts move in 3 part harmony: in a texture similar to the preceding
variation using the dotted figure (a).

Variation 5:

The ground is in the bass

A new figure is presented on violin 1 in the open bar
But the variation enfolds with the same rhythmic pattern of the original
variation

Variation 6:

Ground bass: migrates to the viola part

Cello: now supports the harmony
We find ornamental decorations: particularly in the first part
This variation: is extended by means of a series of transactionary
modulations

Variation 7:

Ground bass: occurs back in the bass

First violin: plays the continuous dotted figure (part b) which was heard in the
3rd variation
Then the viola joins violin 1 with the dotted figure
Some fleeting modulations occur

Variation 8:

Ground is played on the first violin

In the first 3 bars; the second violin and the viola move in thirds with the
dotted pattern (B) .
The first viola moves with the 1st violin
The bass: is silent throughout the variation

Variation 9:

The ground theme: is played on bass

Is disguised by a passage of running descending quavers supported by
sustained notes in the upper parts

Variation 10:

The ground bass is heard in the bass

The continuous quavers migrated to violin 1

Variation 11:

The bass drops out

The ground moves to the viola: creating a welcome change to the texture
Other parts move together with the dotted figure (a)

Variation 12:

Ground occurs in the bass

Walking quaver movement is played on violin 11

Variation 13:

Ground theme: in the bass

The upper support harmony upon figure a

Later in, the viola echos the quaver movement

Variation 14:

Ground migrates to the second violin

Ascending running quavers: cello
Similar to variation 6: variation is extended by a means of transcationary
modulations

Variation 15:

Parts move in 4 part texture above the ground on cello

Texture is similar to the first variation: based upon the dotted rhthm figure (a

Variation 16:

Ground: cello
First violin: walking quavers
Fill in harmony: second violin and the cello

Variation 17:

Parts move together in 4 part texture

Ground: bass

Variation 18:

Like the 17th variation