Concerto for Double Orchestra - Tippet
- Created by: dramaqueen17
- Created on: 16-05-16 20:10
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- Concerto for Double String Orchestra
- General Information
- Neoclassical
- Music is completely his own
- Uses English music of 16th & 17th century
- Baroque concertos - no soloists
- Sonata form
- British folk music - not conventional tonality
- Jazz & Blues rhythmic feel
- Composed 1938/39
- Neoclassical
- Performing Forces
- Two string orchestras of normal arrangement - equal importance
- Great variety
- Both orchestras used together = weight and sonarity
- Most frequent arrangement
- All instruments = very active - no filling in parts
- Each part usually one note at a time
- Pizz in double bass
- Sul Tasto in upper string parts
- Many dynamics & articulation
- Up & down bow actions = rhythmic emphasis
- Two string orchestras of normal arrangement - equal importance
- Structure
- Recurring opening motif = suggests ritornello form
- Overall = Sonata form
- Two clearly defined subjects linked by transition
- Development passes through more tonal areas
- Opening material returns in Recapitulation
- Second subject in home tonality of A instead of original G
- Extended coda - reaffirms home tonality
- Texture
- Varied in number of parts
- Doubling present - usually in octaves or parallel 3rds
- Frequent 2 part counterpoint
- Some imitation
- Uses occasional homophony, monophony and antiphony
- More lyrical sections = sometimes broken chords
- Varied in number of parts
- Harmony & Tonality
- Main tonal centre of A
- Non-functional with modal elements
- Shifts music to tonal areas
- Harmonic intervals created by counterpoint
- Base more on horizontal melody that vertical harmony
- Some common chord progressions
- Some important false relations
- Tonal ambiguity
- Main tonal centre of A
- Melody
- Built on melodic ideas - heard in first 4 bars
- Transitions and developments = major 2nds replaced with minor 2nds = tension
- Long notes & trills in transition
- Use of lydian & mixolydian mode
- Melodic sequence used in run up to recapitulation
- Periodic phrasing at start of movement - freedom everywhere else
- Rhythm & Metre
- 8/8 - sometimes 6/8 & 4/8 = unequal beats
- Modern jazz syncopation influences
- Frequent rhythmic patterns extending over barlines
- Bar 95 - regular crotchet pulse
- Introduces rhythmic augmentation
- Note lengths doub;ed again, again and again
- Introduces rhythmic augmentation
- General Information
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