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In music theory, contrapuntal motion is the general movement of two or more melodic lines with respect to each other. [1] 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 (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".
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 ...
The principles of strict counterpoint constitute one of the fundamental components of Schenker's musical theory (see Schenkerian analysis).For Schenker, the study of counterpoint is the study of voice leading; in particular, contrapuntal theory is separate from and independent of harmonic theory, which is concerned with scale-steps (see Harmony).
In classical music theory, the English cadence is a contrapuntal pattern particular to the authentic or perfect cadence.It features a flattened seventh scale degree against the dominant chord, [1] which in the key of C would be B ♭ and G–B ♮ –D.
Gould called this method "contrapuntal" radio. (The term contrapuntal normally applies to music in which independent melody lines play simultaneously; this type of music, exemplified by J. S. Bach, was the major part of Gould's repertoire.) As he described the format, "every voice leads its own … life and adheres to certain parameters of ...
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"A fugue is a contrapuntal composition in two or more voices, built on a subject (theme) that is introduced at the beginning in imitation and recurs frequently in the course of the composition. In addition to the broad general contrapuntal design, certain formal characteristics are well established.