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Most jazz music is structured on a basic pattern of theme and variations. [10] Examples include John Bull's Salvator Mundi, Bach's Canonic Variations on "Vom Himmel hoch da komm' ich her, Passacaglia and Fugue in C minor, Violin Chaconne, and (D minor solo violin suite), Corelli's La Folia Variations, Beethoven's Diabelli Variations, the ...
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.
It is used to add expression to vocal and instrumental music. Vibrato is typically characterized in terms of two factors: the amount of pitch variation ("extent of vibrato") and the speed with which the pitch is varied ("rate of vibrato"). [1] In singing, it can occur spontaneously through variations in the larynx.
Thematic transformation (also known as thematic metamorphosis or thematic development) is a musical technique in which a leitmotif, or theme, is developed by changing the theme by using permutation (transposition or modulation, inversion, and retrograde), augmentation, diminution, and fragmentation.
In musical composition, developing variation is a formal technique in which the variations are produced through the development of existing material. The term was coined by Arnold Schoenberg, twentieth-century composer and inventor of the twelve-tone technique, who believed it was one of the most important compositional principles since around 1750: [1]
This is a technique used in music, specifically in twelve-tone technique, where the inversion and retrograde techniques are performed on the same tone row successively, "[t]he inversion of the prime series in reverse order from last pitch to first." [3] Basic row forms from Stravinsky's Requiem Canticles: [4] P R I IR
In music, form refers to the structure of a musical composition or performance.In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of ...
Canonic Variations on "Vom Himmel hoch da komm' ich her" The Carman's Whistle; Carmen Variations (Horowitz) Carol Symphony; Variations for Orchestra (Carter) Variations for Cello Solo; Chaconne in G minor; Variations on a Theme of Chopin (Mompou) Variations on a Theme of Chopin (Rachmaninoff) Cinque variazioni (Berio) Variations on a Theme of ...