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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.
In music theory, counterpoint is the relationship of two or more simultaneous musical lines ... Perfect consonances must be approached by oblique or contrary motion.
In a mirror canon (or canon by contrary motion), the subsequent voice imitates the initial voice in inversion. They are not very common, though examples of mirror canons can be found in the works of Bach, Mozart (e.g., the trio from Serenade for Wind Octet in C minor , K. 388/384a), Anton Webern , and other composers.
Music in Contrary Motion for electric organ (1969) Another Look at Harmony, Part 3 for electric organ (1975) Knee Play 4 for piano (1975, from Einstein on the Beach) Modern Love Waltz for piano (piano version of Fourth Series, Part Three, 1978) Mad Rush for piano or electric organ (originally Fourth Series, Part Four, 1979)
In a Landini cadence the motion from the leading-tone to the tonic is interrupted by the submediant [1] Play ⓘ. Three-voice Landini cadence on E [2] Play ⓘ) Landini cadence on E, characterized by contrary motion in the outer voices & characteristic melodic pattern in the top voice. [3]
Parallel fifths are used in, and are evocative of, many musical genres, such as various kinds of Western folk and medieval music, as well as popular genres like rock music. However, parallel motion in perfect consonances (P1, P5, P8) is strictly forbidden in species counterpoint instruction (1725–present), [2] and during the common practice ...
In music theory, an inversion is a rearrangement of the top-to-bottom elements in an interval, a chord, a melody, or a group of contrapuntal lines of music. [2] In each of these cases, "inversion" has a distinct but related meaning. The concept of inversion also plays an important role in musical set theory.
Johannes Cotto (John Cotton, Johannes Afflighemensis; fl. c. 1100) was a music theorist, possibly of English origin, most likely working in southern Germany or Switzerland. He wrote one of the most influential treatises on music of the Middle Ages, De musica, first printed by Gerbert in 1784.