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Undulating: Equal movement in both directions, using approximately the same intervals for ascent and descent (prevalent in Old World culture music). Usually concludes with a descending progression. Pendulum: Extreme form of undulating movement that covers a large range and uses large intervals is called pendulum-type melodic movement. Like ...
Cambiata, or nota cambiata (Italian for changed note), has a number of different and related meanings in music.Generally it refers to a pattern in a homophonic or polyphonic (and usually contrapuntal) setting of a melody where a note is skipped from (typically by an interval of a third) in one direction (either going up or down in pitch) followed by the note skipped to, and then by motion in ...
Detail from "Farben", 3rd movement of Arnold Schoenberg's Fünf Orchesterstücke Op. 16 (1909). Klangfarbenmelodie (German for "sound-color melody") is a musical concept that treats timbre as a melodic element. Arnold Schoenberg originated the idea. It has become synonymous with the technique of fragmenting a melodic line between different timbres.
(This mechanism is also called a double-weighted pendulum, because there is a second, fixed weight on the other side of the pendulum pivot, inside the metronome case.) The pendulum swings back and forth in tempo, while a mechanism inside the metronome produces a clicking sound with each oscillation.
A tail (i.e. a closing section appended to a movement) codetta A small coda, but usually applied to a passage appended to a section of a movement, not to a whole movement col or colla with the (col before a masculine noun, colla before a feminine noun); (see next for example) col canto with the singer, see also colla voce col legno
A melodic formula, ranging length from a short motif of a few notes to an entire melody, which is used as the basis for musical compositions. It differs from a mode, which simply sets forth a sequence of intervals (in Western music, half tones and whole tones), and from a scale (the notes of a mode in rising order of pitch), in that it is more specific: a melody type spells out actual ...
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 major scale or any of its modes, a step will always be a movement of 1 or 2 semitones, and a skip a movement of 3 or more semitones. In other scales an augmented second—an incomposite step equivalent to 3 semitones—and/or a diminished third—a skip of 2 semitones—may be possible.