CMP Teaching Plan

Matthew Sheppard

COMPOSITION
Capriol Suite for String Orchestra, based on dance tunes from Arbeau’s Orchésographie (1589)
II: Pavane
Peter Warlock (Philip Arnold Heseltine, b. Oct. 30, 1894; d. Dec. 17, 1930)

Editions
Curwen: strings only (1927), Goodmusic: 2222/2231/snare/strings
Written 1926 (piano duet); orchestrated for strings 1926. Full orchestra edition by Warlock in 1928.

ANALYSIS
Broad Description
This pavane is taken from Thoinot Arbeau’s Orchésographie and set as the second movement of a six-movement
suite by Peter Warlock (pseudonym of Philip Heseltine).

Background Information
Compositional style: Heseltine was a prominent music critic and musicologist (writing under his Warlock
pseudonym), and much of his musical training was informal and through his own research. He and many of his
contemporaries rejected the 19th-century tradition of English art songs as overly Germanic, gravitating instead
toward folk music and Renaissance revivals, where Heseltine had the greatest success. His major influences
included John Dowland, Henry Purcell, Frederick Delius (early in life), Bernard van Dieren, Béla Bartók, and
scores of English, Celtic, and Welsh folk songs.

Compositional output: Heseltine wrote mostly smaller works and was an unabashed miniaturist. His output
includes over 100 songs (many of which were drinking songs written for his companions in debauchery), 30+
larger choral works, 8 listed instrumental works, and a few lost/destroyed works for the stage. Outside of
original compositions, he created 500+ transcriptions of early English music and voluminous literary
publications as a music critic and musicologist.

Immediate context: Composed in October 1926 for piano duet and later orchestrated for both strings and full
orchestra, Capriol Suite was written after Heseltine’s travels to Ireland and immersion in early English music
during a particularly productive period of his life–though a rather tumultuous and rowdy one. He had
discovered Arbeau’s Orchésographie during his musicological investigations and set six of the tunes in his own
style. The title is from the character in Orchésographie with whom Arbeau dialogues: Capriol, derived from
French “capriole” for capering.
Thoinot Arbeau (1519-1595): pseudonym of French priest (!) Jehan Tabourot, who wrote Orchésographie (1589),
a treatise on French Renaissance social dances (hence the pseudonym). It includes woodcuts, dance tabulations
with musical notation, and annotations on the historical context.

Belle qui tiens ma vie: A remarkable piece in an already remarkable compilation, “Belle qui tiens ma vie” is the
only piece in Orchésographie with 1) words and 2) more than a monophonic line, set for four voices and drum.
Arbeau states:
“on solemn feast days the pavan is employed by kings, princes and great noblemen to display
themselves in their fine mantles and ceremonial robes...and it is the said pavans, played by
hatbois and sackbuts, that announce the grand ball...Pavans are also used in masquerades to
herald the entrance of the gods and goddesses in their triumphal chariots or emperors and kings
in full majesty.”
Arbeau’s musical remembrances are from his youth–perhaps the compositions of Antonio de Cabezón (1510-
1566), a Spanish composer who wrote variations on this melody under a different title.

The text of Belle qui informs its shaping:

Belle qui tiens ma vie Beautiful one who holds my life
Captive dans tes yeux, Captive in your eyes,
Qui m’as l’ame ravie Who has ravished my soul
D’un souris gracieux, With a gracious smile,
Viens tot me secourir Come to my aid
Ou me faudra mourir. Or I must die.

From Orchésographie by Arbeau, 1598. See appendix for full pages of Pavane, as well as text and translations for all seven verses.

Knowledge of the text and how it corresponds to the notes is critical to phrasing. The opening statement “Belle
qui teins ma vie” requires 4 ½ measures to set each syllable, creating a phrase structure of 5+3 (the syllable
“cap” of “captive” is a pickup), rather than a more typical 4+4 (what would likely be assumed without
knowledge of the text). This 5+3 is further divided into 3+2+3 in a feeling of a 3-measure hypermeter, but
with a shortened middle measure.
Elements of Music
Form
Straightforward: Intro → A → Transition → A’ → Coda

Introduction A (a a’ b b’) transition A’ (a’’ a’’’ b’’ b’’’) Coda

3 measures 32 (8 8 8 7 ) 3 (elided) 32 (8 8 8 7) 8 (elided)

The form is simple and symmetrical in a nod to its dance origins and as notated by Arbeau. Heseltine preserves
the overarching simplicity of the form, but in his use of asymmetrical and uneven bookends (introduction,
transition, and coda), he inserts 20 th-century formal unease into the Renaissance music. The contrast between
the two ideas of on-balance phrases and off-balance transitions is striking and inserts unpredictability in an
otherwise predictable form. In this new form, Heseltine moves from the purely pragmatic structure of dance
music to a higher artistic level, heightening the sense of mystery and reverence of bygone ages.

Rhythm
A Q QR rhythmic heartbeat drives the rhythm and is present in every measure until the final four. This
rhythmic pattern was the imperative drum (tabor) in Arbeau’s original notation, present to help the dancers
keep good rhythm.

Necessarily, the dance music is very straightforward with consistent rhythms. Only W Q E are used with
minimal ties that create longer pedal notes. Melodically only W Q are used with a critical and notable exception
in the 3rd-to-last measure of the b phrases. These extra moving QR are on the strong beat of the measure (the Q
of the pavane rhythm) rather than the weak: an extra flourish of energy and momentum just as the music
should be winding down at the end of the b phrase. This creates a sense of unexpectedly heightened
energy...but only for a moment as it swiftly retreats to the predictable close of the phrase.

The rhythms are remarkably simple: no syncopations, and no ties across bar lines unless creating pedals. By
keeping the simplicity of Arbeau’s rhythms, Heseltine helps draw the listener’s focus into other changing
elements, as well as maintaining the authentic pragmatic purpose of enabling dance.

Rhythmic continuity is expected in dance music. But here, Heseltine transforms this steady drumbeat from the
pragmatic to the artistic. Is this simply because Arbeau gave him more to work with in the pavane–a full,
SATB + drum setting rather than simply a melody sans accompaniment? Or, recognizing the hypnotic power
of Arbeau’s rhythmic choices, did Heseltine lean in to this simplicity and use it to set his changes in other
elements into sharper contrast?

The tempo marking of Allegretto, ma un poco lento can be tricky to interpret, and knowledge of the dance itself
helps (see appendix). From the opening rhythm until the end, the only moment of tempo relaxation is the final
poco più lento... rallentando molto...a tempo. This tells the listener that we’ve reached the end of Arbeau’s dance,
but Heseltine once again uses his toolbox to heighten the artistic impact. By continuing the drum rhythm
through the final note of the b phrase even after the rallentando, he again matches the predictable with the
unpredictable: is it ending, or is there more? Only when the drum rhythm finally stops can we reach the final
3-measure hold and finally reach a moment of respose. Heseltine has taken the simple, pragmatic drum rhythm
and elevated it to a higher artistic role.

Melody
Both the a and b parts of the melody are step-wise except for one minor 3 rd: ascending in a, descending in b.
The a section ascends from G-Bb, while the b section descends from Bb-G. This mirror imaging of the melodic
contour matches Arbeau’s description of the dance: “The pavan is easy to dance as it is merely two simples and
one double forward and two simples and one double backward...then the tabor and other instruments play eight
bars while the dancers advance and eight bars while they move backward” (Arbeau, 58). Given that each
melody must fit within this 3rd yet still remain interesting musically, each phrase escapes beyond its range, only
to fall/ascend to its final resting place. These moments of escape, though only intervals of a 3 rd, are striking in
their contrast to the otherwise step-wise motion.

Though Heseltine sets the entire melody twice, he makes no changes to the pitches themselves. Just as with his
strict observance of rhythmic consistency, this melodic consistency and staidness throws his changes in other
elements into sharper relief.

Harmony
Though ostensibly in G minor–clearly set-up in first four measures of melody–Arbeau’s harmony consistently
subverts and avoids confirmation of that G minor tonality. Heseltine preserves Arbeau’s original key signature
of G dorian, but not once does the music cadence on a G minor chord, a chord that is striking for its absence.
Instead, the music cadences in the mediant B b, a Picardy-third G major, or even on an open fifth G-D: really,
anything but G minor. Again, this music that initially seems simplistic instead continuously plays with the
listener’s sense of expectations and predictability. Each time we expect affirmation of G minor, we are denied
by a different degree: first the repeated pleasant but unsurprising deviations to B b major, then a turn to G
major that, though unexpected, would create the satisfying sense of finality in a final G minor...and then an
open fifth that pointedly avoids the satisfaction of that finality.

Heseltine’s additions in the A’ section includes more adventurous 20 th-century harmonies: E♮ where it had been
Eb (and vice versa) plus denser harmonies and non-chord tone pedals/suspensions at the poco più lento. The
heightened harmonic dissonance at this critical tempo juncture increases the tension of the moment, thereby
heightening the effect of its resolution. Yet, in a nod to the power of Arbeau’s original, even with his denser
harmonic language in the A’ section, Heseltine again leaves the music feeling somehow unresolved with an
open fifth as his final cadence.

The significant use of parallel voice-leading and open intervals also serves to evoke “bygone days.”
Timbre
Multiple versions exist, including one by Heseltine that includes winds, brass, and a light percussion (snare)
part. This plan analyzes the string only version as it relates to Arbeau’s original.

Arbeau’s original setting is for SATB plus tabor: five parts in total. Heseltine avoids the easy but less effective
choice of a 1:1 orchestration to the five parts of the string orchestra, and his creativity in exploring different
timbres through range and instrumentation is remarkable. From the outset of the introduction, his innovative
choices add to the hypnotic, driving motion created by the heartbeat rhythm. Rather than putting this Pavane
rhythm on the tonic G as a static pedal note, he places it on the D in the violas with a held pedal G in the
cellos. Placing the drum-beat on the dominant rather than the easy choice of the tonic propels the music
forward and leaves the audience listening for a resolution that doesn’t come.

After establishing the tabor rhythm on dominant, Heseltine introduces the SATB parts in violin 1, divided
violin 2, and cello. The easier choice would have been to move the tabor to bass and not divide violin 2, but
Heseltine reserves the bass for something more powerful and effective revealed in the A’ section.

In the A’ section (with near identical melody, rhythm, and harmony), Heseltine uses timbral changes as the
new element. He places the melody in the cellos, but in the octave previously reserved the for the first violins
(treble clef)–an incredible new timbre that is much more passionate and cantabile. Meanwhile, the first violins
take the tenor voice in doubled octaves above the melody (and, initially, tripled in the viola), giving heightened
prominence to a previously middle voice. Further amplifying this newly extended range is the first entrance of
the contrabasses “singing” the bass part while playing the tabor rhythm! This striking departure from the A
section has the bass leaping as far as an octave, reading tenor clef, and at one point even matching pitch level
with the cellos. The rhythmic element that should be the linchpin holding the pavane together is instead the
most active and uncharacteristically orchestrated of all.

Only in the last phrase of the A’ section does the melody return to violin 1. For the first time, it is heard not at
pitch but an octave higher for a more haunting close: a sentiment that builds on those created in tempo and
harmonic changes. But perhaps the most striking timbral element of the piece is the final dyad of G-D. This
final dyad spans the widest interval of the entire pavane: 3 ½ octaves from the opening pedal pitch to D. These
widely spaced pitches, the open fifth, and the light colors created by divisis create a haunting close to the piece.

Texture
The homophonic writing of Arbeau is maintained throughout. As touched on in timbre, Heseltine frequently
moves the tabor part to different sections in the orchestra, and he reserves the contrabass for the heightened
drama of the A’ section. The introduction, transition, and coda use only viola and cello voices, whereas the rest
of the pavane uses all string voices (except the aforementioned bass) together. The placement of the tabor
rhythm in the A section is mostly dependent on voice-leading, where the voice with the smoothest motion
taking the tabor rhythm. In the B section, it is given to the basses.
In the A section, the tabor rhythm begins to move between different voices–viola, cello, violin 2, etc.,
whichever has the smoothest voice-leading–and serving a dual role of tabor rhythm and S/A/T/B voice. In
doing this, Heseltine respects the original pragmatic purpose of the drum while creating a more interesting and
engaging textural tapestry for the listener. The final melodic phrase of each section is given to instruments that
did not carry the first three phrases: the second violins in A and the first violins in A’. This odd textural change
is unsettling to the ear: its asymmetry and lack of finality leaves the listener without resolution.

Expression
Expressive markings are minimal in Heseltine’s setting–only large scale phrase structures are marked. However,
his dynamics are subtly differentiated to bring out specific voices, such as in the opening (mp violins and p
viola/cello), the last phrase of the A section (p first violins on the tabor rhythm/pedal, mp everyone else), and
the A’ section (mf cello/violin 1, mp others).

The stronger dynamics of the A’ section work in conjunction with the harmonic, textural, and timbral changes
to heighten the intensity of A’. Similarly, the poco marcato + poco più lento in the final phrase of the A’ section
create a sense of deliberateness and finality that Heseltine then evades with a dim to pp on the last open dyad.

Interestingly, the last note is not a fermata, but rather three full measures in tempo followed by a fermata on a
GP. As he had done before, Heseltine evades a sense of finality and resolution by not allowing a drawn out
fermata to end, but instead offering a mirror image last note to the opening three measure introduction.

Heart
The heart of “Pavane” is the steady and ever-present tabor rhythm, once solely pragmatic and now transformed
into the heartbeat of the piece that gently yet unflaggingly propels it forward.

Introducing the Piece

Famous covers–ask who wrote them. Begin a discussion of composer and arranger.

Share the melody without bar lines and explore it with expert noticing skills: how it’s broken apart (large scale
structure, small phrases), its contour, the rhythmic language, and its movement. Speculate about what type of
music it belongs to. What was the composer writing it for? Do you think there are words to the song, and if so,
what might they be? Could you dance to it, and how would that look? Is it written for the concert hall? If so,
what instruments? When was it written, and why?

Friction Points
“It’s too easy”
Phrase structure is atypical and hard to grasp initially
Tenor clef, especially for basses
Bowing: recreating the evenness of the tabor rhythm in bow strokes
 OUTCOMES, STRATEGIES, AND ASSESSMENT

Skill Outcome: Students will play with unified and strong internal pulse.
A. Strategies
a. Scales: Perform G melodic minor scale 1) in unison on half notes, 2) on the Pavane rhythm, and 3)
in a 3-part round on the Pavane rhythm. Ask strings: why is this difficult (bow direction)?
b. Awkward Conversations: Introduce the idea of seamless transitions in conversations, demonstrating
examples of rhythmic stumbling and timbral/textural instability with a student in conversation.
c. Share the Beat: Count off four, then clap together 16 beats (without rushing!). Clap together 16
beats of the Pavane rhythm together, in 4 sections (1 ostinato each), with eyes closed, and then on e
note at a time.
d. Melody sheet: Distribute melody sheet; students sing on “da” as written, play as written, play on Q
QR, play one measure per section on Q QR
e. Countdown: Write 1-16 on the board. Students say 1-16 on beat, together, then with eyes closed.
Slowly remove certain numbers until only 3 remain, and students keep pulse through silent notes.
f. Two Ways: Play Pavane with each measure as the Pavane rhythm, then as written. Then, play the
beginning without violas. Why is this harder? How do we know what part is important to hear?
g. Pass the Ball: Divide students into groups of 5-7, seat them cross-legged in circles, and give each
group a tennis ball. Play “In the Mood” and have them pass the tennis ball with the beats: normal,
big, and small. Add in a second tennis ball/do it with eyes closed for advanced groups.
h. Diminishing Count-offs: start Pavane with diminishing count-offs from 4-1; transition into showing
with gesture, then continue to play through 1st half.
B. Assessment
a. Pass the Ball: observe students passing, watching specifically for smoothness of the hand-off, timing
with the beat, and full motion throughout a beat
b. Informal assessment of student skills through success in strategies and performance.

Knowledge Outcome: Students will identify and interpret basic arranging techniques such as form, timbre,
melody, and rhythm.
A. Strategies
a. Famous Covers, part 1: Listen to 3 famous pieces and covers, asking “who wrote this” as an
introduction to arranger/composer.
1. “Hound Dog” - Elvis Presley...and Big Mama Thorton
2. “RESPECT” - Aretha Franklin...and Otis Redding
3. “Girls Just Wanna Have Fun” - Cyndi Lauper...or Robert Hazard
b. Composer vs. Arranger: Venn diagram composer/arranger: form, timbre, melody, rhythm.
c. “Let’s listen to the original” Jordi Savall (this is our baseline)
1. “Let’s listen to another” Antonio de Cabazon and Ambrosius Benson (what changed?)
 2. Play Pavane. Objective: listen to hear what changed from the original – how it was arranged.
With your section, list as many things as you can in 60 seconds.
d. Bad Composer: Perform two “bad” arrangements of Pavane.
1. Pavane A: ‘boring’ version similar to original: no changes to form, rhythm, and timbre.
2. Pavane B: ‘too far’ version that moves beyond an arrangement - too many changes to form,
rhythm, timbre, and even melody/harmony.
B. Assessment
a. Composer vs. Arranger: Informal assessment of student knowledge through Venn Diagram and
through lists compiled of arrangement techniques in Warlock’s Pavane.
b. Arrange a Melody: With a partner, create an arrangement of ‘Belle qui tiens ma vie’ altering
rhythm, harmony, or melody (4 minutes) – perform a couple for the class.
c. As a final project, students choose a new melody to arrange. If their skills are adequate, they can
write the arrangement. For most students, a prose description of their plan will suffice.

Affective Outcome: Students will develop their personal views on the value of knowledge and context.
A. Strategies
a. Famous Covers, part 2: Does anything in the Robert Hazard version seem odd? Inappropriate?
What about the Elvis setting of Big Mama Thorton’s work? Do we hear them differently now than
when they were first arranged–in the context of #MeToo and increased awareness of cultural
appropriation?
b. Missing Information: Share the piece without the title. Would you play it differently if the title were
“Majestic March” by Victoria Buckingham, or “Dancing in the Moonlight” by Joe Schmo? ‘Belle
qui tiens ma vie” by Thoinot Arbeau? Write why (and how) or why not on a 3x5 notecard.
c. Making Up Words: On the melody sheet, work with a partner to create words/syllables for the
melody. Be creative! Think stories, or onomatopoeia, or nonsense songs, or folk tunes. Write down
one instruction as to how we should sing it, based on those words–three volunteer groups perform.
Share the actual words, ask for translations/provide. After playing, write how knowing the words
changed the way you felt about the melody on the 3x5 notecard.
d. It’s a Dance: Introduce the idea of Pavane rhythm and tabor. What do you think was the point of
the tabor? Does that make a difference in the way you listen as you’re playing? Share a video of the
dance and try the glide step. Where do you think this might have been played? Does that change
the way you think about/perform it?
e. Context Is Key: Talk about the power/impact of knowledge/context, and how this changes from
person to person. “Jocks” vs. “Nerds” in music: is it just about the notes, or do we always need to
know the context? Share the introduction of Eroica Funeral March, then with the introduction
after JFK’s assassination: different context, different knowledge, which changed it forever for many
people. Where do you fall on the spectrum?
 B. Assessment
a. Notecard: Students will share 1) preliminary views on the value of knowledge and context on a 3x5
notecard, and 2) how knowing the words changed the way they felt about a melody.
b. Prompt: “As knowledge increases, wonder deepens” (Charles Morgan, English playwright). Share a
time that your views, opinions, or actions were changed by a deeper understanding of context.
How did that knowledge change you?

Music Selection
“Belle qui tiens ma vie” is one of the most enduring Renaissance dance works, and its classic setting in Capriol
Suite maintains its innate brilliance focused through the lens of Philip Heseltine. Its challenging low string
parts are welcome for often-neglected cellos and basses, and the serious and mature feel of the piece still
captivate the upper strings. The refined simplicity of Arbeau’s transcription and the expanded 20 th-century
expressivity of Heseltine’s setting offer a rare opportunity for students to study two settings of the same piece
and explore the affect of musical concepts beyond melody and harmony.

Resources
Arbeau, Thoinot [Jehan Tabourot]. Orchesography. Translated by Mary Stewart Evans. New York: Dover, 1967.

Pittaway, Ian. “The pavan, the priest, and the pseudonym: ‘Belle qui tiens ma vie’ and Arbeau’s
‘Orchésographie’ (1598).” EarlyMusicMuse.com. https://earlymusicmuse.com/orchesographie/
(March 20, 2018).

Renaissance Dance: Pavane pavan. Monographic. Video. https://www.loc.gov/item/musdivid.039/ (3/18/18).

Warlock, Peter [Philip Heseltine]. Capriol Suite for String Orchestra. London: J. Curwen & Sons, 1926.

Warlock, Peter [Philip Heseltine]. Capriol Suite for Full Orchestra. Tewkesbury: Goodmusic Publishing, 2001.

Appendix A: full text to “Belle qui tiens ma vie”

translation by David Samuel Barr, 1997
Belle qui tiens ma vie Beautiful one who holds my life
Captive dans tes yeux, Captive in your eyes,
Qui m'as l'ame ravie Who has ravished my soul
D'un souris gracieux, With a gracious smile.
Viens tot me secourir Come to my aid
Ou me faudra mourir. Or I must die.
Pourquoi fuis tu, mignarde, Why do you flee, dainty one,
Si je suis pres de toi? If I am near you?
Quand tes yeux je regarde When I behold your eyes
Je me perds dedans moi, I am lost inside myself
Car tes perfection Because your perfection
Changent mes actions [so affects my behaviour].

Tes beautes et ta graces Your beauty and your grace

Et tes divins propos And your divine ways
Ont echauffe la glace Have melted the ice
Qui me gelait les os, Which was freezing my bones
Et ont rempli mon coeur And have filled my heart
D'une amoureuse ardeur. With a loving ardour.

Mon ame voulait etre My soul wanted to be

Libre de passion, Free of passion,
Mais l'amour s'est fait maitre But love became master
De mes affections Of my affections
Et a mis sous sa loi And put under its law
Et mon coeur et ma foi. My heart and my faith.

Approche donc ma belle, Come near, my lovely one,

Approche toi mon bien, Come near, my [dear one],
Ne me sois plus rebelle Do not resist me further
Puisque mon coeur est tien, For my heart is yours,
Pour mon mal appaiser To relieve my ills
Donne moi un baiser. Give me a kiss.

Je meurs, mon Angelette, I die, my Little Angel,

Je meurs en te baisant I die when kissing
Ta bouche tant doucette Your mouth so sweet.
Va mon bien ravissant My very lovely one,
A ce coup mes esprits With that touch my spirits
Sont tous d'amour epris. Are completely lifted in love.

Plutot on verra l'onde Sooner will waves

Contremont reculer, Flow backwards
Et plutot l'oeil du monde And sooner will the moon
Cessera de bruler, Cease to shine
Que l'amour qui m'epoint Before the love which conquered me
Decroisse d'un seul point. Wanes a single iota.
Appendix B: opening page of Arbeau’s notation from Orchésographie