1. Tippett
Texture

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

3. 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.

4.
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

5. 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.

6. 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 :
Bars 221, 228: 6.19-end (basically)

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

8. 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:
Bar 74:
Bar 87: from 2.19

9. 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:
Bar 21: 0.34?-0.50?