Purcells chacony in G minor is restrained and stately.

Purcell builds his

melodies in groups of dotted notes as

Bar 1 violin 1 figure

(a)

The work is clearly devoid of counter point, making it easy to hear the
rhythms and turns of the melody and ground bass. Apparently it was
intended to be performed without continuo. The first base ground is suitable
in length for dancing and beings with a typical passacaglia device of a
descending through a fourth. What is unusual is that Purcell employs
chromatic alterations within the key of G minor. These movements are
harmonized with great freedom and imagination each time they occur.

Var 1: Introduces ground bass

Bars 1-8
ground bass

The upper parts move in four part- textures above the ground which is
played on the cello.

Var2: Parts move in 4-part texture, making use of the dotted rhythm as (a)
above, however at certain bars, the second violin and viola present the
dotted crotched figure upon the first beat of the bar, in contrast to the
syncopated rhythm of the outer parts.

Var 3: Parts move together in four-part texture, maintaining the double-

dotted syncopated rhythm (a). The perfect cadence, ie the last two bars of
the variation (bars 23 and 24) is embellished with notes of decoration.

Var 4: The first violin presents a new pattern in its accompanying role which
is played throughout the variation.

Bar 25 violin 1
figure (b)

The other parts move in three-part harmony in a texture similar to the

preceding variation using the dotted figure (a)
Var 5: The ground is in the bass. A new figure is presented on violin 1 in the
opening bar but the variation enfolds with the same rhythmic pattern of the
original variation.

Var 6: The ground bass migrates to the viola part so the cello part supports
the harmony. In the sixth variation, we find ornamental decorations,
particularly in the first violin. This variation is extended by means of a series
of transactionary modulations (bar 49-53).

Var 7: Ground bass occurs again the bass. The first violin plays the
continuous dotted figure (b) which was heard in the 3 rd variation. At bar 56
the viola joins the violin I as it enters with figure (b) . Some fleeting
modulations occur.

Var 8: The ground is played on the first violin. In the first three bars, the
second violin and the viola move in thirds with the dotted pattern (b). At bar
55 , the dotted figure (b) keeps moving in the viola whereas violin II moves
with violin I. The bass is silent throughout the variation

Var 9: The ground theme is played on bass and is disguised by a passage of

running descending quavers supported by sustained notes in the upper
parts.

Var 10: The ground bass is heard in the bass. The continuous quavers
migrate to violin I.

Var 11: The bass drops out and the ground moves to the viola creating a
welcome change to the texture. The other parts move together with the
dotted figure (a).

Var 12: Ground occurs in the bass. The walking quaver movement is played
on violin II.

Var 13: The ground theme is in the bass while the upper parts support
harmony upon figure (a). At bar 104 viola echos the quaver movement.

Var 14: The ground migrates to the second violin, while the ascending
running quavers over in the cello. Simlar to variation 6 this variation is also
extended by means of transcationary modulations.

Var 15: Parts move in four-part texture above the ground on cello. Texture is
similar to the first variation and is based upon the dotted rhythm figure (a)
Var 16: The ground is on the cello accompanied by walking quavers on the
first violin and fill-in harmony in the second violin and the cello.

Var 17: The parts move together in four-part texture similar to variation 1
above the ground theme heard played on bass.

Var 18: Is a repeat of the seventeenth variation.