Tipp conc.

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  • Created on: 21-12-15 13:43
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  • Tippet, Concerto for Double String Orchestra, mv.1, 1940.
    • Metre and Instruments.
      • 2 identical orchestras placed antiphonally (stereo effect).
        • Concerto as sounding together, traditional understanding of term rather than a later solo and orchestra interpretation which we expect.
          • Large and varied dynamic range.
            • The second subject has frequent chnages of metre: 6/8, 4/8 and 8/8.
    • Rhythm.
      • Much syncopation.
        • driving, emphatic motor rhythms.
          • descending sequences which are later on inverted. Use of additive rhythms.
            • Use of  cross rhythms and ostinato aswell as augmentation.
      • rhythmic cells - sounds like latin jazz rhythms (3 + 3 + 2).
      • very motivic. uses on the beat quaver rhythms strong contrast created.
        • Wrong grouping for accents at bar 15 exemplifies the rhythmic idea of the piece.
    • Structure/ Form.
      • Influence of medieval, renaissancce and neoclassical styles.
        • Renaissance: 2 part counterpoint, freely combining independent rhythmic patterns, dissonance treatment, use of false relation (bar 51) bare fiftha at end (A - E).
          • Medieval: Arch shaped phrases (e.g.  opening) use of modes (aeolian at opening) and use of the lydian 4th (tritone).
            • Sonata form. with exposition, recapitulation and development sections labeled on score and in book table.
        • Neoclassicism: sonata form structure but defined by modes rather than key's relationships, bimodality (2  modes at once) pandiatonicism (free use of unresolved dissonances in diatonic scale) free use of discords and use of augmented triads e.g. bar 118 - 122.
        • The 2 orchestras are heard alone and together.
    • Texture.
      • Homophony with homorhythms (block chords) bar 15 ish. Antiphony.
        • Monophonic writing doubled at the octave e.g. bars 40 to 50.
      • Polyphonic particularly using imitation antiphonally.
        • Contrapuntal/Polyphonic mainly.  Pizz. to thicken bass line.
          • Sul tasto section where string players play the passage with the bow over the fingerboard creating a percussive effect.
    • Tonality/ Harmony.
      • Non - functional tonality/ modal.
        • ambiguous tonality, not served by cadences.
          • open chords (no 3rds) modal with a lydian 4th
        • bars 21 to 22 phrygian cadence.
          • Limited functional harmony; no cadences, no primary chords, leading 7ths and lack of 3rds in chords.
        • Ends on a cadence on the note which the movement began.
          • chromatic and dissonant intervals.
      • Some cadences (e.g. phrygian cadence; bars 20 t0 21 but they don't function in a traditional sense).
      • bimodal, pandiatonicism ON a key with tonal centres (A/G/aeolian).
        • last chord - no3rd; open 5th chord. Many timbres.
          • 'wrong note' harmonies and false relations.
    • Melody.
      • Motivic writing; 2 note stepwise.
      • Much ornamentation (cello trill) in transition section (off the beat).
      • Rare cantabile instruction and sotto voce (under voice) section.
        • Scherzando (like a joke) section.


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