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In music theory, counterpoint is the relationship of two or more simultaneous musical lines (also called voices) that are harmonically interdependent yet independent in rhythm and melodic contour. [1] The term originates from the Latin punctus contra punctum meaning "point against point", i.e. "note against note".
Voice leading (or part writing) is the linear progression of individual melodic lines (voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint. [1]
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
An opposed point of view holds that pandiatonicism does not project a clear and stable tonic. [7] Pandiatonicism is also referred to as "white-note music," [8] though in fact occasional accidentals may be present. [9] Other composers who employed the technique are Maurice Ravel, Paul Hindemith, Darius Milhaud, Aaron Copland, and Roy Harris. [10]
In his early work, such as Piano Phase (1967) and Clapping Music (1972), Steve Reich used a process he calls phasing which is a "continually adjusting" canon with variable distance between the voices, in which melodic and harmonic elements are not important, but rely simply on the time intervals of imitation.
The show was the first stage musical that Berlin wrote. It ran for 175 performances at the New Amsterdam Theater in New York City.The one song from the show that is well-remembered today is "Play a Simple Melody," one of the few true examples of counterpoint in American popular music — a melody running against a second melody, each with independent lyrics.
The term "chord chart" can also describe a plain ASCII text, digital representation of a lyric sheet where chord symbols are placed above the syllables of the lyrics where the performer should change chords. [6] Continuing with the Amazing Grace example, a "chords over lyrics" version of the chord chart could be represented as follows:
Another use of the term "Mozart fifths" results from the non-standard resolution of the German augmented sixth chord that Mozart used occasionally, such as in the retransition of the finale of the Jupiter Symphony (bars 221–222, second bassoon and basses), in the Sonata for Two Pianos in D Major, K. 448 (third movement, bars 276–277 (second ...
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