Concerto for Double String Orchestra: movement I - Micheal Tippett
- Created by: AliP
- Created on: 11-04-16 18:07
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- Concerto for Double String Orchestra: movement I - Micheal Tippet
- Performing forces and their handlng
- Although there are two string orchestras, Tiippett did NOT label them '1st' and '2nd' as he thought they were of equal importance
- Parts from one orchestra may double the other at times (eg: the phrygian cadence at bars 20-21)
- Briefly, but not often, one orchestra plays alone
- Instruments are very active - no filling in parts
- Usually one note played at a time wth a bow, but there are a few 'special' string techniques
- Double stopping (in the coda, bars 209 - 212) to reinforce the sfortzando chords
- Pizz for double bass to accompany staccato in higher parts (bars 51-52)
- Sul tasto, also known as flautando, (upper strings at bar 107). This is achieved by playing near or over the fingerboard
- Performance instructions are detailed
- Dynamics and marks of articulation
- Indications of character
- Up and Down bow indications
- Texture
- Varied in number of parts and doubling
- Mostly contrapuntal
- Antiphonal occasionally
- Antiphony - the alternation of dfferent groups of performers
- Orchestra 2 answers orchestra 1 (but a third higher) at bars 8-12
- Another, more extended and varied antiphony at bar 74
- Homophonic occasionallly
- Chordal or homorhythmic at bar 38
- Melody and accompaniment style at bar 21
- Doubling usually in octaves but there is also use of parallel 3rds
- Counterpont is heard
- At the start, the orchestras combine different melodic ideas
- The lower part sometimes imitates the upper (at bars 8-10 and 10-12 this is done but inverted
- Near the end there is substantial immitation (bars 221 and 228) this can then be termed 'canon'
- Structure
- Sonata form (the more useful way to view this movement)
- Exposition (Bars 1-67)
- 1st subject (bars 1-21)
- Transition (bars 21-38)
- 2nd subject (bars 39 - 67)
- Development (Bars 68 - 128)
- Recapulation (Bars 129-193)
- 1st subject (bars 129-155)
- Transition (bars 156-164)
- 2nd subject (bars 165-193)
- Coda (bars 194-232)
- Exposition (Bars 1-67)
- Can be thought of in two ways
- Ritornello form (the more confusing one of the two)
- Ritornello 1 (bars 1-8)
- Episode 1 (bars 8-67)
- Ritornello 2 (bars 68-71)
- Episode 2 (bars 71-128)
- Ritornello 3 (bars 129-136)
- Episode 3 (bars 136 - 193)
- Ritornello 4 (bars 194 - 201)
- Episode 4 (bars 202-232)
- Sonata form (the more useful way to view this movement)
- Tonality
- Mostly ambiguous
- Could be in 'A'
- Bar 1 begins with the note A
- The last chord consists of A and E
- Note A is prominant from bar 129 and bar 165 and in parts of the coda
- Not, however, either in A minor or A major
- Pentatonic scale used in bars 1-4 by the first orchestra is without C or C#
- A major is strongly suggested in the coda and recapitualation
- Frst subject is bascally A, the second subject is basically G
- Harmony
- When in two real parts
- harmonic intervals used and are usually the result of counterpoint
- Based on largely diatonic, modal or pentatonic lines
- In bars 1-4 most intervals are cosonant
- Major 2nds, minor 7ths and perfect 4ths
- When in more than two real parts
- Root postion triads
- First inversons (coda)
- False relation at bar 51
- When in two real parts
- Melody
- Based on short motifs
- 1st motif - the first four notes (ABAB)
- inversion in the lower strings (bars 8-11) used in immitaton with the original verson
- Major 2nds repllaced by minor 2nds
- 2nd motif - the three notes after the first four notes
- 3rd motif - following notes in the hgher octave GEGAGE
- concludng 3 notes
- Melodic sequencing
- Periodic phrasing
- Rhythm and metre
- Alla breve
- 8/8 due to unequal beats
- rhythm changes noted
- changes in time signature
- Rhythmic augmentationat bars 95-106
- Performing forces and their handlng
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