Explanation of the Analysis
In this analysis, the harmony is seen as being reduceable to four theoretical triadic chords built on
G, F, D & C (or D, C, A & G in the key of C) which generally move in relation to the 4/4 rhythm with
strong down beats on the 1st and 3rd beat of each bar. The triads are defined through intervals
between treble and bass per crotchet beat.
Compound intervals an octave or more (for example, notes 10 strings apart on a harp) are
described as simple intervals less than an octave, (eg., 3 strings apart) to show their harmonic
Intervals are analysed mainly per crotchet beat. Intervals on the 2nd & 4th beats per bar can be
regarded as passing notes. Due to passing notes, mostly in the treble, or to the lack of a bass note
on the 3rd beat of the bar, the question of which crotchets and quavers are harmonically more
important is occasionally subjective. Passing crotchet and quaver notes are defined by not being
related to the chord posited as belonging to the bass (most notably 2nds and their invertions, 7ths).
Bass notes are identified as those being played simultaneously below treble notes or those which
are the lowest in a staggered octave (in the first five bars).
Concordant intervals are those in the posited as being related to the theoretical triads but which
are not at the octave.
The MS is written in lute tablature. The second measure of the melody in the MS is for informative
purposes only, being a notation of melodic variation in the end of the first section of the melody. It is
generally omitted in this analysis. The tune is set in the key of F but may have been played on the
harp in the key of C or G.
When irregularities in the notation are evened out, we have two sections of 4/4, the first 10 bars
long and the second 16 bars long. The clearest notation of the melody of bar 6 is in the omitted
measure and this is one I have used.