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In music theory, contrapuntal motion is the general movement of two or more melodic lines with respect to each other. [1] In traditional four-part harmony, it is important that lines maintain their independence, an effect which can be achieved by the judicious use of the four types of contrapuntal motion: parallel motion, similar motion, contrary motion, and oblique motion.
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).
Download as PDF; Printable version; In other projects ... In music theory, ... The example shown is weak due to similar motion in the second measure in both voices. A ...
Melodic motion: ascending vs. descending X conjunct vs. disjunct. Melodic motion is the quality of movement of a melody, including nearness or farness of successive pitches or notes in a melody. This may be described as conjunct or disjunct, stepwise, skipwise or no movement, respectively. See also contrapuntal motion. In a conjunct melodic ...
Parallel fifths are used in, and are evocative of, many musical genres, such as various kinds of Western folk and medieval music, as well as popular genres like rock music. However, parallel motion in perfect consonances (P1, P5, P8) is strictly forbidden in species counterpoint instruction (1725–present), [2] and during the common practice ...
Parallel harmony is frequently used in house music and other electronic music genres. Historically, this resulted from producers sampling chords from soul or jazz and then playing them at different pitches, or using "chord memory" feature from classic polyphonic synthesizers.
In (b), the same measures are presented as four block chords (with two inverted): I – II 4 2 – V 6 5 – I. . In (c), the four measures are presented as five horizontal voices identified by the direction of the stems, which are added even though the notes are actually whole notes, making them look like half notes.
In Western musical theory, a cadence (from Latin cadentia 'a falling') is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards. [2]