1. Tippett - Concerto for Double String Orchestra movement I (Harmony) By Luke Everard

2. Taboo…

3. Real Parts

4. Harmonic Intervals

5. Triad/Seventh Chords

6. Counterpoint

7. Dissonances

8. Consonances

9. Root Position Triads

10. First Inversion Chords

11. Functional Harmony

12. When the music is in two real parts…  We can hear harmonic intervals.  The harmony is not random or accidental.

13. We can hear harmonic intervals.  We hear the harmonic intervals but not complete triad or seventh chords. (throughout the piece)  The harmonic intervals tend to be the by-products of counterpoint, that are based off diatonic, modal or pentatonic lines.

14. The harmony is not random or accidental.  Tippet avoids repeated dissonances and provides plenty of consonances.  E.g. Bars 1-4: most of the intervals are consonant.  The few 2nds are major.  The 7ths are minor  This avoids harshness.  The 4ths are perfect, not augmented.  However the C# minor passage (from the development) is more dissonant as Tippett is trying to build more tension here.  E.g Bar 80+

15. When the music is in more than two real parts…  There are root position triads and there are first inversions.  Several important false relations are symptomatic of the broader rejection of functional harmony.

16. There are root position triads and there are first inversions.  Root position triads.  E.g in the second subject.  First inversions.  Especially in the coda.  Occasionally these help reinforce the tonality, and even correspond somewhat to traditional functional harmony.

17. Several important false relations are symptomatic of the broader rejection of functional harmony.  E.g Bar 53: (in the second subject) the D major chord is followed by an F major chord  This recalls English Renaissance music  Mixolydian mode.

18. Definitions…

19. Real Parts  When a group of instruments are all playing the same notes together - like the first violins in an orchestra, they are all playing the same part. The second violins are playing another part, the violas are playing yet another part, etc.

20. Harmonic Intervals  An interval is the distance (in scale steps) between two pitches. A harmonic interval occurs when two notes are played at the same time.

21. Triad/Seventh Chords  Triad: made up of root, 3 rd, 5 th.  Seventh: root, 3 rd, 5 th, 7 th.

22. Counterpoint  Interweaving harmonic and rhythmic patterns. (polyphonic, polyrhythmic)

23. Dissonances  The lack of harmony..  In other words notes which clash.

24. Consonances  The opposite of dissonance…  A combination of notes which are in harmony with each other due to the relationship between their frequencies.

25. Functional Harmony  Tonal harmony based on major and minor keys is usually called functional harmony. The most important functions of the chords are subdominant, dominant, and tonic (S, D, T). They are usually represented by scale degrees II/IV, V, and I, but other degrees can be substituted for them as well.