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Motion between proximate harmonies is described by simple transformations. For example, motion between a C major and E minor triad, in either direction, is executed by an "L" transformation. Extended progressions of harmonies are characteristically displayed on a geometric plane, or map, which portrays the entire system of harmonic relations.
Paraconformity. A paraconformity is a type of unconformity in which the sedimentary layers above and below the unconformity are parallel, but there is no obvious erosional break between them. A break in sedimentation is indicated, for example, by fossil evidence. It is also called nondepositional unconformity or pseudoconformity.
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 ...
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.
Later examples can be found as the opening movement of each of Johann Sebastian Bach's orchestral suites, Partita in D major, BWV 828, C minor Cello Suite, BWV 1011, and as an opening to many operas and oratorios by George Frideric Handel (including Messiah and Giulio Cesare). The 16th of Bach's Goldberg Variations is a miniature French overture.
In music and musical form, contrast is the difference between parts or different instrument sounds. The three types of contrast are rhythmic contrast, melodic contrast, and harmonic contrast. [1] Procedures of contrast include stratification, juxtaposition, and interpolation.
Heinrich Schenker (19 June 1868 – 14 January 1935) was an Austrian music theorist whose writings have had a profound influence on subsequent musical analysis. [1] His approach, now termed Schenkerian analysis, was most fully explained in a three-volume series, Neue musikalische Theorien und Phantasien (New Musical Theories and Phantasies), which included Harmony (1906), Counterpoint (1910 ...
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