Four phrases, (a) to (d), are marked up with a soprano-alto pair—(1) and (2). The upper voice is centered on D5, traces a neighbor note figure in the first phrase, then a line into the cadence in the second phrase. It disappears in the third phrase, to re-emerge in the fourth, which, however, is dominated by G5, not D. The alto voice is similarly centered on B4, and it also disappears, after the opening notes of the fourth phrase.
I have made a more traditional linear analysis, as well, based on the above. The reader can decide how plausible this all seems. For my part, I would be inclined to prefer a proto-background B4-D5 to begin, expanding to the sixth B4-G5 by the end of the second phrase, then remaining there for the duration.
In this series of posts, basic information about the individual tunes is taken from Jeremy Barlow, ed., The Complete Country Dance Tunes from Playford's Dancing Master, 1651-ca.1728.
