Tippett Texture.

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Presentation transcript:

Tippett Texture

Overall Texture Varied in number of parts and doubling Mostly Contrapuntal Occasionally Antiphonal Occasionally Homophonic

Number of Parts and Doubling Doubling: 2 instruments playing the same melody line There are 2 String Orchestras, Tippett theoretically could write in 10 parts. Doubling is used so the number of ‘real’ parts playing is fewer. Doubling is usually in octaves but is sometimes in parallel thirds.

https://www.youtube.com/watch?v=T9hBY2G4wes Examples Bar 220, the tutti section is only 3-6 parts Bars 1-4, orchestra 1 has 3 upper strings doubling in three octaves Orchestra 2 has 3 lower strings doubling in three octaves. Bar 220: 6.19 Bars 1-4: start

Contrapuntal Counterpoint: When all, or both, parts have different rhythms simultaneously. Parts may: combine different melodic ideas or share the same melodic idea. Imitation: Parts share an idea, starting at different times but overlapping.

Examples Counterpoint: start- orchestra 1 and 2 combine different melodic ideas. Imitation: Bars 8-10 and 10-12, lower part imitates the upper part in inversion. Bars 221 and 228, violins in orchestra 1 imitate violins in orchestra 2- this can be known as canon. Counterpoint: start Imitation: bars 8-10 10-12: 0.05-0.26 Bars 221, 228: 6.19-end (basically)

Antiphony Antiphony: Alternation of different groups of performers, normally one group repeating another. Used subtlety in Tippett’s concerto.

Examples Bars 8-12, orchestra 2 answers orchestra 1 a third higher Examples Bars 8-12, orchestra 2 answers orchestra 1 a third higher. Bar 74, extended/varied antiphony Bar 87, 2 orchestras combined before climax on sf chords in bar 90. Bars 8-12: 0.05-0.26 Bar 74: 2.00-2.19 Bar 87: from 2.19

Homophony Tippett uses chordal (homorhythmic) texture. Using 3 chord patterns, heard at end of bar 38. Tippett also uses melody and accompaniment from bar 21. Bar 38: 55-1.06 Bar 21: 0.34?-0.50?