Tipppet- Concerto For Double String Orchestra: Movement I Flashcards
When and where was Concerto for Double String Orchestra: movement I first performed?
It was first performed in 1940 at Morley College, Lambeth, where Tippett was musical director.
Tippett shifts the music in Concerto for Double String Orchestra: movement I to various tonal areas. Where does it shift to E?
It shifts to E bar 68
Why is Concerto for Double String Orchestra: movement I notated in 8/8, which is a fairly uncommon metre?
The use of quavers as the basic unit permits additive rhythms.
What is the regular appearance of the opening motif in Concerto for Double String Orchestra: movement I reminiscent of?
The regular appearance of the opening motif is reminiscent if the ritornello of the Baroque ‘concerto grosso’.
When is the recapitulation in Concerto for Double String Orchestra: movement I?
The recapitulation is bar 129
One of the most obvious harmonic events in Concerto for Double String Orchestra: movement I is a final modal cadence of G to A. What is this?
A tonic preceded by a flattened 7th.
What happens in the recapitulation (b129) of Concerto for Double String Orchestra: movement I?
The opening material reappears, with the second subject in the home tonality of A as opposed to the original G.
What is the tonality of Concerto for Double String Orchestra: movement I?
It is on A, and is non-functional, with modal elements.
How is transition material marked in Concerto for Double String Orchestra: movement I?
Transition material is marked by a more cantabile approach, with longer note lengths and appearance of trills.
What does counterpoint in Concerto for Double String Orchestra: movement I lead to?
Counterpoint leads to dissonant collisions.
Where is there an extended coda in Concerto for Double String Orchestra: movement I?
The extended coda is bar 194
What happens to the melody in bar 8 of Concerto for Double String Orchestra: movement I?
It is extended by sequence and inverted in the lower parts
In the more lyrical sections of Concerto for Double String Orchestra: movement I, what form does the accompaniment sometimes take?
In the more lyrical sections, the accompaniment sometimes takes the form of broken chords.
Which textural device does Tippett frequently use in Concerto for Double String Orchestra: movement I?
Tippett frequently uses two-part counterpoint, as in the main theme, but each part is doubled at three octaves.
Concerto for Double String Orchestra: movement I was first performed by the South London Orchestra. What are the origins of this orchestra?
It was founded in the 1930s to provide work opportunities for unemployed musicians.
Why are harmonic progressions in Concerto for Double String Orchestra: movement I difficult to discern for the most part?
Harmonic progressions are discern for the most part because of the lean contrapuntal textures.
One of the most obvious harmonic events in Concerto for Double String Orchestra: movement I is ambiguous progression with augmented/whole-tone structures heard in passing. Where is this?
There is ambiguous progression with augmented/whole-tone structures heard in passing from b119
One of the most obvious harmonic events in Concerto for Double String Orchestra: movement I is a Phrygian cadence. Where is this?
The Phrygian cadence is bars 20-21
Tippett shifts the music in Concerto for Double String Orchestra: movement I to various tonal areas. Where does it shift to A
It shifts to A bar 129
Where is the first subject of Concerto for Double String Orchestra: movement I?
The first subject is bar 1
When does the music in Concerto for Double String Orchestra: movement I settle into a ‘regular’ crotchet pulse?
The music settles into a ‘regular’ crotchet pulse at bar 95
Once Concerto for Double String Orchestra: movement I has settled into a ‘regular’ crotchet pulse at bar 95, Tippett introduces rhythmic augmentation. Give an example of this.
The motif opening with crotchets in violin 1, orchestra 1 at b95 is doubled in length at b99 (cellos, orchestra 1) and doubled again at b103 (violas and cellos, orchestra 2, where the initial pitch plus rests takes up a whole bar)
Tippett shifts the music in Concerto for Double String Orchestra: movement I to various tonal areas. Where does it shift to Ab?
It shifts to Ab bar 107
There is an extended coda in Concerto for Double String Orchestra: movement I. What does this do?
It eventually reaffirms the home tonality.
Which scale is used in b1-4 of Concerto for Double String Orchestra: movement I?
Bars 1-4 of Concerto for Double String Orchestra: movement I uses the pentatonic scale
What is the metre of Concerto for Double String Orchestra: movement I?
8/8, with very occasional changes to 6/8 and 4/8.
How does Concerto for Double String Orchestra: movement I close?
Concerto for Double String Orchestra: movement I closes with an open 5th chord.
How is Tippett’s interests in English madrigals evident in Concerto for Double String Orchestra: movement I?
It is evident in freely combining independent rhythmic patterns
Other than two-point counterpoint, which textures does Tippett employ in Concerto for Double String Orchestra: movement I?
He uses occasional homophony and monophony, as well as antiphony.
Is there syncopation in Concerto for Double String Orchestra: movement I?
Yes. Syncopation is frequent, with rhythmic patterns extending over the bar line.
Where is the transition section in Concerto for Double String Orchestra: movement I?
The transition section is bar 21
Although there are no unconventional playing techniques in Concerto for Double String Orchestra: movement I, which direction does Tippett use at b107?
At bar 107, there is a ‘sul tasto’ direction, which is to bow over the fingerboard.
Describe the background of Concerto for Double String Orchestra: movement I.
It is a characteristic work of Tippett’s early period, and its origins reflect his social concerns.
Tippett shifts the music in Concerto for Double String Orchestra: movement I to various tonal areas. Where does it shift to G?
It shifts to G bars 39-67
One of the most obvious harmonic events in Concerto for Double String Orchestra: movement I is a common chord progression. Where is this?
There is a common chord progression bars 39-40
Describe the opening motif of Concerto for Double String Orchestra: movement I.
It is characterised by repeated step movement before broadening out by leaps of 4th and 3rd
Which composer is Neoclassicism associated with?
Stravinsky
Tippett shifts the music in Concerto for Double String Orchestra: movement I to various tonal areas. Where does it shift to C#?
It shifts to C# bar 86
Concerto for Double String Orchestra: movement I is an early work of Tippett’s. What does it reflect because of this?
Tippett’s interests in English madrigals (evident in freely combining independent rhythmic patterns) and neoclassicism, a movement associated with Stravinsky.
Where is the second subject of Concerto for Double String Orchestra: movement I?
The second subject is bar 39
When is the development section in Concerto for Double String Orchestra: movement I?
The development section is bar 68
Where is there a prominent broken-chord motif in the bass in Concerto for Double String Orchestra: movement I?
There is a prominent broken-chord motif in bass at bar 112
Describe the harmony of Concerto for Double String Orchestra: movement I in one word.
Non-functional
What is the overall structure of Concerto for Double String Orchestra: movement I?
Sonata form.
Bars 1-4 of Concerto for Double String Orchestra: movement I uses the pentatonic scale. Why is it difficult in other parts to be certain which mode predominates?
It is difficult to be certain which mode predominates because of accidentals in other parts.
What did Tippett choose to do in terms of forces for Concerto for Double String Orchestra: movement I?
This concerto plays two equal forces off against each other, rather than a single soloist or group of soloists against a larger accompanying orchestra.
