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Lefebvre’s concept of rhythm concerns the repetition of a measure at a frequency. He identifies two kinds of rhythms: cyclical rhythms, which involve simple intervals of repetition, and alternating (or linear) rhythms. An example of a cyclical rhythm would be day fading into night, and night brightening into day; a linear rhythm might be the ...
Avoid dissonant intervals between any two parts: major or minor second, major or minor seventh, any augmented or diminished interval, and perfect fourth (in many contexts). In the adjacent example in two parts, the cantus firmus is the lower part. (The same cantus firmus is used for later examples also. Each is in the Dorian mode.)
Period built of two five-bar phrases in Haydn's Feldpartita in B ♭, Hob. II:12. [1] Diagram of a period consisting of two phrases [2] [3] [4]. In music theory, a phrase (Greek: φράση) is a unit of musical meter that has a complete musical sense of its own, [5] built from figures, motifs, and cells, and combining to form melodies, periods and larger sections.
Polyrhythm (/ ˈ p ɒ l i r ɪ ð əm /) is the simultaneous use of two or more rhythms that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. [2] The rhythmic layers may be the basis of an entire piece of music ( cross-rhythm ), or a momentary section.
Rhythm may be defined as the way in which one or more unaccented beats are grouped in relation to an accented one. ... A rhythmic group can be apprehended only when its elements are distinguished from one another, rhythm...always involves an interrelationship between a single, accented (strong) beat and either one or two unaccented (weak) beats ...
Additionally, they can take form as commentary to a statement, an answer to a question or repetition of a phrase following or slightly overlapping the initial speaker(s). [2] It corresponds to the call and response pattern in human communication and is found as a basic element of musical form , such as the verse-chorus form , in many traditions.
Isorhythm (from the Greek for "the same rhythm") is a musical technique using a repeating rhythmic pattern, called a talea, in at least one voice part throughout a composition. Taleae are typically applied to one or more melodic patterns of pitches or colores , which may be of the same or a different length from the talea .
A literal repetition of a musical passage is often indicated by the use of a repeat sign, or the instructions da capo or dal segno. Repetition is a part and parcel of symmetry—and of establishing motifs and hooks. You find a melodic or rhythmic figure that you like, and you repeat it throughout the course of the melody or song. This sort of ...