Tipppet- Concerto For Double String Orchestra: Movement I

Question 1

When and where was Concerto for Double String Orchestra: movement I first performed?

Answer 1

It was first performed in 1940 at Morley College, Lambeth, where Tippett was musical director.

Question 2

Tippett shifts the music in Concerto for Double String Orchestra: movement I to various tonal areas. Where does it shift to E?

Answer 2

It shifts to E bar 68

Question 3

Why is Concerto for Double String Orchestra: movement I notated in 8/8, which is a fairly uncommon metre?

Answer 3

The use of quavers as the basic unit permits additive rhythms.

Question 4

What is the regular appearance of the opening motif in Concerto for Double String Orchestra: movement I reminiscent of?

Answer 4

The regular appearance of the opening motif is reminiscent if the ritornello of the Baroque ‘concerto grosso’.

Question 5

When is the recapitulation in Concerto for Double String Orchestra: movement I?

Answer 5

The recapitulation is bar 129

Question 6

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?

Answer 6

A tonic preceded by a flattened 7th.

Question 7

What happens in the recapitulation (b129) of Concerto for Double String Orchestra: movement I?

Answer 7

The opening material reappears, with the second subject in the home tonality of A as opposed to the original G.

Question 8

What is the tonality of Concerto for Double String Orchestra: movement I?

Answer 8

It is on A, and is non-functional, with modal elements.

Question 9

How is transition material marked in Concerto for Double String Orchestra: movement I?

Answer 9

Transition material is marked by a more cantabile approach, with longer note lengths and appearance of trills.

Question 10

What does counterpoint in Concerto for Double String Orchestra: movement I lead to?

Answer 10

Counterpoint leads to dissonant collisions.

Question 11

Where is there an extended coda in Concerto for Double String Orchestra: movement I?

Answer 11

The extended coda is bar 194

Question 12

What happens to the melody in bar 8 of Concerto for Double String Orchestra: movement I?

Answer 12

It is extended by sequence and inverted in the lower parts

Question 13

In the more lyrical sections of Concerto for Double String Orchestra: movement I, what form does the accompaniment sometimes take?

Answer 13

In the more lyrical sections, the accompaniment sometimes takes the form of broken chords.

Question 14

Which textural device does Tippett frequently use in Concerto for Double String Orchestra: movement I?

Answer 14

Tippett frequently uses two-part counterpoint, as in the main theme, but each part is doubled at three octaves.

Question 15

Concerto for Double String Orchestra: movement I was first performed by the South London Orchestra. What are the origins of this orchestra?

Answer 15

It was founded in the 1930s to provide work opportunities for unemployed musicians.

Question 16

Why are harmonic progressions in Concerto for Double String Orchestra: movement I difficult to discern for the most part?

Answer 16

Harmonic progressions are discern for the most part because of the lean contrapuntal textures.

Question 17

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?

Answer 17

There is ambiguous progression with augmented/whole-tone structures heard in passing from b119

Question 18

One of the most obvious harmonic events in Concerto for Double String Orchestra: movement I is a Phrygian cadence. Where is this?

Answer 18

The Phrygian cadence is bars 20-21

Question 19

Tippett shifts the music in Concerto for Double String Orchestra: movement I to various tonal areas. Where does it shift to A

Answer 19

It shifts to A bar 129

Question 20

Where is the first subject of Concerto for Double String Orchestra: movement I?

Answer 20

The first subject is bar 1

Question 21

When does the music in Concerto for Double String Orchestra: movement I settle into a ‘regular’ crotchet pulse?

Answer 21

The music settles into a ‘regular’ crotchet pulse at bar 95

Question 22

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.

Answer 22

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)

Question 23

Tippett shifts the music in Concerto for Double String Orchestra: movement I to various tonal areas. Where does it shift to Ab?

Answer 23

It shifts to Ab bar 107

Question 24

There is an extended coda in Concerto for Double String Orchestra: movement I. What does this do?

Answer 24

It eventually reaffirms the home tonality.

Question 25

Which scale is used in b1-4 of Concerto for Double String Orchestra: movement I?

Answer 25

Bars 1-4 of Concerto for Double String Orchestra: movement I uses the pentatonic scale

Question 26

What is the metre of Concerto for Double String Orchestra: movement I?

Answer 26

8/8, with very occasional changes to 6/8 and 4/8.

Question 27

How does Concerto for Double String Orchestra: movement I close?

Answer 27

Concerto for Double String Orchestra: movement I closes with an open 5th chord.

Question 28

How is Tippett’s interests in English madrigals evident in Concerto for Double String Orchestra: movement I?

Answer 28

It is evident in freely combining independent rhythmic patterns

Question 29

Other than two-point counterpoint, which textures does Tippett employ in Concerto for Double String Orchestra: movement I?

Answer 29

He uses occasional homophony and monophony, as well as antiphony.

Question 30

Is there syncopation in Concerto for Double String Orchestra: movement I?

Answer 30

Yes. Syncopation is frequent, with rhythmic patterns extending over the bar line.

Question 31

Where is the transition section in Concerto for Double String Orchestra: movement I?

Answer 31

The transition section is bar 21

Question 32

Although there are no unconventional playing techniques in Concerto for Double String Orchestra: movement I, which direction does Tippett use at b107?

Answer 32

At bar 107, there is a ‘sul tasto’ direction, which is to bow over the fingerboard.

Question 33

Describe the background of Concerto for Double String Orchestra: movement I.

Answer 33

It is a characteristic work of Tippett’s early period, and its origins reflect his social concerns.

Question 34

Tippett shifts the music in Concerto for Double String Orchestra: movement I to various tonal areas. Where does it shift to G?

Answer 34

It shifts to G bars 39-67

Question 35

One of the most obvious harmonic events in Concerto for Double String Orchestra: movement I is a common chord progression. Where is this?

Answer 35

There is a common chord progression bars 39-40

Question 36

Describe the opening motif of Concerto for Double String Orchestra: movement I.

Answer 36

It is characterised by repeated step movement before broadening out by leaps of 4th and 3rd

Question 38

Which composer is Neoclassicism associated with?

Answer 38

Stravinsky

Question 39

Tippett shifts the music in Concerto for Double String Orchestra: movement I to various tonal areas. Where does it shift to C#?

Answer 39

It shifts to C# bar 86

Question 40

Concerto for Double String Orchestra: movement I is an early work of Tippett’s. What does it reflect because of this?

Answer 40

Tippett’s interests in English madrigals (evident in freely combining independent rhythmic patterns) and neoclassicism, a movement associated with Stravinsky.

Question 41

Where is the second subject of Concerto for Double String Orchestra: movement I?

Answer 41

The second subject is bar 39

Question 42

When is the development section in Concerto for Double String Orchestra: movement I?

Answer 42

The development section is bar 68

Question 43

Where is there a prominent broken-chord motif in the bass in Concerto for Double String Orchestra: movement I?

Answer 43

There is a prominent broken-chord motif in bass at bar 112

Question 44

Describe the harmony of Concerto for Double String Orchestra: movement I in one word.

Answer 44

Non-functional

Question 45

What is the overall structure of Concerto for Double String Orchestra: movement I?

Answer 45

Sonata form.

Question 46

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?

Answer 46

It is difficult to be certain which mode predominates because of accidentals in other parts.

Question 47

What did Tippett choose to do in terms of forces for Concerto for Double String Orchestra: movement I?

Answer 47

This concerto plays two equal forces off against each other, rather than a single soloist or group of soloists against a larger accompanying orchestra.