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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.
Inspired by Spinoza, [6] Taneyev developed a theory which covers and generalizes a wide range of advanced contrapuntal phenomena, including what is known to the english-speaking theorists as invertible counterpoint (although he describes them mainly using his own, custom-built terminology), by means of linking them to simple algebraic procedures.
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]
[12] In 1945, she opposed the "harmonic and structural chords" to the "contrapuntal and prolonging chords" [13] and she translated Urlinie as "the structural top voice". [14] These expressions were taken over by Felix Salzer, who apparently was the first to speak of "fundamental structure". [15]
Polyphony (/ p ə ˈ l ɪ f ə n i / pə-LIF-ə-nee) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice or a texture with one dominant melodic voice accompanied by chords ().
Doing one’s best to avoid meat and mammalian products is also recommended, although Dr. Schaffner says that people with alpha-gal syndrome can often eat poultry and seafood.. “You don’t have ...
Gauff offset nine double faults with 12 aces and overcame 32 unforced errors by saving five of six break points in the 80-minute victory, her 11th first-round win in her past 12 Grand Slam events.
The very first sentence begins: "In music, a fugue (/fjuːɡ/ fewg) is a contrapuntal compositional technique". The words "contrapuntal" and "polyphonic" are largely synonymous, and in fact the situations in which they may be distinguished would leave fugue defined as contrapuntal but not polyphonic. However, this is a very specialized distinction.