Search results
Results from the WOW.Com Content Network
The inverse of a given fragment of melody is the fragment turned upside down—so if the original fragment has a rising major third (see interval), the inverted fragment has a falling major (or perhaps minor) third, etc. (Compare, in twelve-tone technique, the inversion of the tone row, which is the so-called prime series turned upside down ...
Counterpoint (Kontrapunkt in the original German) is the second volume of Heinrich Schenker's New Musical Theories and Fantasies (the first is Harmony and the third is Free Composition). It is divided into two "Books", the first published in 1910, and the second in 1922. The subject matter of the work is species counterpoint.
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.
Voice leading developed as an independent concept when Heinrich Schenker stressed its importance in "free counterpoint", as opposed to strict counterpoint. He wrote: All musical technique is derived from two basic ingredients: voice leading and the progression of scale degrees [i.e. of harmonic roots]. Of the two, voice leading is the earlier ...
Download as PDF; Printable version; In other projects ... Contrapuntal motion; F. ... Media in category "Counterpoint" The following 7 files are in this category, out ...
Voice exchange is also used in Schenkerian analysis to refer to a pitch class exchange involving two voices across registers, one of which is usually the bass. In this sense, it is a common secondary structural feature found in the music of a wide variety of composers. [12]
In music, a canon is a contrapuntal (counterpoint-based) compositional technique that employs a melody with one or more imitations of the melody played after a given duration (e.g., quarter rest, one measure, etc.).
A distinguishing feature of the fourth ballade is its contrapuntal nature. Counterpoint is found only sporadically in the first and second ballade. The fourth ballade is musically more subtle than the other three, as most of its portions remain melancholic and profound.