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In fifth species counterpoint, sometimes called florid counterpoint, the other four species of counterpoint are combined within the added parts. In the example, the first and second bars are second species, the third bar is third species, the fourth and fifth bars are third and embellished fourth species, and the final bar is first species.
In European art music, the common practice period was the period of about 250 years during which the tonal system was regarded as the only basis for composition. It began when composers' use of the tonal system had clearly superseded earlier systems, and ended when some composers began using significantly modified versions of the tonal system, and began developing other systems as well.
In music, a counter-melody (often countermelody) is a sequence of notes, perceived as a melody, written to be played simultaneously with a more prominent lead melody. In other words, it is a secondary melody played in counterpoint with the primary melody.
From trivia questions and answers on the '80s, '90s and 2000s to fun facts on pop, rock and country music, we've got a comprehensive list of easy and challenging music facts that are sure to test ...
The six-part fugue in the "Ricercar a 6" from The Musical Offering, in the hand of Johann Sebastian BachIn classical music, a fugue (/ f juː ɡ /, from Latin fuga, meaning "flight" or "escape" [1]) is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches ...
In music theory, contrapuntal motion is the general movement of two melodic lines with respect to each other. 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.
He presents his music through complex counterpoint and daring harmonies, although at times combining the expressive possibilities of the new music with traditional polyphony. [76] Aquilino Coppini drew much of the music for his sacred contrafacta of 1608 from Monteverdi's 3rd, 4th and 5th books of madrigals. In writing to a friend in 1609 ...
ALEX: I had a really hard time forcing myself to go in the room.I wasn’t going to go in. I just wouldn’t do it. My dad said, “If you don’t go in, you will regret it the rest of your life.”