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Melody may be characterized by its degree and type of conjunct and disjunct motion. For example, Medieval plainchant melodies are generally characterized by conjunct motion with occasional thirds, fourths, and generally ascending fifths while larger intervals are quite rare though octave leaps may occur between two separate phrases. [4]
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 ...
An adjective applied to a melodic line that moves by step (intervals of a 2nd) rather than in disjunct motion (by leap). contralto Lowest female singing voice type contrapuntalism See counterpoint coperti (plural of coperto) covered (i.e. on a drum, muted with a cloth) corda String.
A conjunct is an adverbial that adds information to the sentence that is not considered part of the propositional content (or at least not essential) but which connects the sentence with previous parts of the discourse. Rare as it may be, conjuncts may also connect to the following parts of the discourse.
Voice leading (or part writing) is the linear progression of individual melodic lines (voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint. [1]
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.
In the tenth edition of The Oxford Companion to Music, Percy Scholes defines musical form as "a series of strategies designed to find a successful mean between the opposite extremes of unrelieved repetition and unrelieved alteration." [61] According to Richard Middleton, musical form is "the shape or structure of the work."
Comes after other terms; e.g. adagio ma non tanto ("not quite at ease") ma non troppo: but not too much: Comes after other terms; e.g. allegro ma non troppo ("not too joyful") Meno: less: Comes before other terms, such as meno mosso ("less moved/agitated") Subito: suddenly, quickly: Comes before or after other terms; e.g. subito fortissimo ...