Music - AS Level - Tippett - Concerto for Double String Orchestra

Revision cards containing key information on Tippett's Concerto for Double String Orchestra: movement 1

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  • Created by: Rachel
  • Created on: 17-04-11 12:07

Background

Tippett- Concero for Double String Orchestra: movement 1

 

BACKGROUND

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Background

  • Characteristic work of Tippett's early period
  • It's origins reflect his social concerns
  • First performed by the South London Orchestra (who provided performance oppertunities for unemployed musicians)
  • First performed in 1940 at Morley College, Lambeth where Tippett was musical director.
  • Reflects Tippett's interest's in English madrigals and neoclassicism
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Rhythm and Metre

 

Rhythm and Metre

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Rhythm and Metre

  • Notated in 8/8 with occasionally changes to 6/8 and 4/8
  • Use of quavers as the basic unit permits additive rhythms
  • Syncopation is frequent, with rhythmic patterns extending over the barline
  • Only at bar 95 is the music settled to a 'regular' crotchet pulse
  • Where Tippett uses rhythmic augementation ie. the motif opening with crotchets in violin 1, orchestra 1 is doubled in length at bar 99 (cellos, orchestra 1) and doubled again at bar 103 (viola and cellos of orchestra 2, where the initial pitch pulse ress takes up a whole bar
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Melody

 

Melody

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Melody

  • Opening motif characterised by repeated step movement before broadening out by leaps of 4ths and 3rds
  • Melody extended by sequence (bar 8)
  • Melody here is also inverted in lower parts
  • Transition material marked by a more songlike approach, with longer note lengths and appearance of trills
  • Prominent broken-chord motif in bass at bar 112
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Harmony

 

Harmony

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Harmony

  • Non functional
  • Harmonic progressions are difficult to discern for the most part because of the thin contrapuntal textures
  • Counterpoint leads to dissonant collisions
  • Phrygian cadence bars 20-21
  • Common chord progression at bars 39-40
  • Ambigious progression from bar 119 with augmented/whole tone structures heard in passing
  • Final modal cadence of G to A, tonic preceded by flattened seventh
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Tonality

 

Tonality

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Tonality

  • On A
  • Non funcional with modal elements; aeolian, lydian
  • Bars 1-4 of melody use the pentatonic scale
  • Various tonal shifts
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Structure

 

Structure

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  • Sonata form
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Resources/Texture

 

Resources/Texture

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  • Frequent use of two-part counterpoint
  • Occasional homophony and monophony as well as antiphony
  • lyrical sections make use of broken chords
  • No unconventional playing techniques, however, 'sul tasto' (bow over fringerboard at bar 107
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Comments

georgina

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you just copied it out of the revision guide....

mvine

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Too brief. Points needed to be expanded

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