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Melodic motion: ascending vs. descending X conjunct vs. disjunct. Melodic motion is the quality of movement of a melody, including nearness or farness of successive pitches or notes in a melody. This may be described as conjunct or disjunct, stepwise, skipwise or no movement, respectively. See also contrapuntal motion. In a conjunct melodic ...
A double tonic is a chord progression, melodic motion, or shift of level consisting of a "regular back-and-forth motion" in melody similar to Bruno Nettl's pendulum type [clarification needed] though it uses small intervals, most often a whole tone though may be almost a semitone to a minor third (see pendular thirds).
Melodic motion; D. Double tonic; This page was last edited on 3 October 2010, at 02:30 (UTC). Text is available under the Creative Commons ...
The animations below depict the motion of a simple (frictionless) pendulum with increasing amounts of initial displacement of the bob, or equivalently increasing initial velocity. The small graph above each pendulum is the corresponding phase plane diagram; the horizontal axis is displacement and the vertical axis is velocity. With a large ...
The Parsons code, formally named the Parsons code for melodic contours, is a simple notation used to identify a piece of music through melodic motion – movements of the pitch up and down. [1] [2] Denys Parsons (father of Alan Parsons [3]) developed this system for his 1975 book The Directory of Tunes and Musical Themes. Representing a melody ...
A movement is a self-contained part of a musical composition or musical form.While individual or selected movements from a composition are sometimes performed separately as stand-alone pieces, a performance of the complete work requires all the movements to be performed in succession.
Claire Ford. Enriching Life with Creative Expression. September – November 2011. Winston Churchill Travelling Fellowship Report “Arts and Dementia Programming – Creative Aging”
The melodic aspect of the fundamental structure, a stepwise descent from one of the triad notes to the tonic, with the bass arpeggiation being the harmonic aspect. The notion of the descending fundamental line belongs to the final version of Schenkerian theory, from 1930 onwards; fundamental (or, better, "primal") lines in Schenker's earlier ...