2. Context Neoclassicism was a period during the two wars where composers drew on influences of the classical period such as economy , balance and emotional restraint. This contrasts drastically to the late romantic period where music was unrestrainedly emotional and could be perceived as formlessness. This also contrasts to the long period of exploration and musical rebellion of the previous 20 years.
3. Time Signature The piece is in 88 which allows for complicated groupings Bar 10 where the grouping changes from 2 groups of four to two groups of three and a group of two Due to the time signature accents can be placed on unusual beats Bar 1 where the accent is on the 4th beat rather than the 5th beat The emphasis of each bar is difficult to find as there is no distinct pattern throughout piece The time signature changes during the piece From bars 40-43 it moves from 88 to 68 to 44 and back to 88
4. Syncopation The second orchestra play a syncopated pedal The D in the second half of bar 1 In the beginning Tippet uses lots of tied notes which confuse the strong beats and emphasise the syncopation Bars 1-4 The tied note in the first bar adds syncopations. It is also an implied rhythmical accent
5. Rhythmical Motifs The rhythm from bar 5 in the lower strings from the first orchestra repeats through the movement For example it comes back in the second orchestra in bar 39. The second orchestra plays a group of 5 staccato quavers This pattern from all the different instruments and al, the different orchestras. In bar 8 the first orchestra play a syncopated rhythm which moves to the second orchestra.
6. Other Interesting Rhythmical features The two orchestras play different rhythms which interlock and provide a thick layer of fast almost moto-perpetuo quaver figurations. Tippet leaves footnotes to tell the players about interesting rhythmical features he envisioned the piece to have. At bar 87 the two orchestras play at different rhythms which create a thick texture
