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  2. Contrapuntal motion - Wikipedia

    en.wikipedia.org/wiki/Contrapuntal_motion

    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.

  3. Counterpoint - Wikipedia

    en.wikipedia.org/wiki/Counterpoint

    Use caution with successive accented perfect fifths or octaves. They must not be used as part of a sequential pattern. The example shown is weak due to similar motion in the second measure in both voices. A good rule to follow: if one voice skips or jumps try to use step-wise motion in the other voice or at the very least contrary motion.

  4. Musical similarity - Wikipedia

    en.wikipedia.org/wiki/Musical_similarity

    The notion of musical similarity is particularly complex because there are numerous dimensions of similarity. If similarity takes place between different fragments from one musical piece, a musical similarity implies a repetition of the first occurring fragment.

  5. Voice leading - Wikipedia

    en.wikipedia.org/wiki/Voice_leading

    Rigorous concern for voice leading is of greatest importance in common-practice music, although jazz and pop music also demonstrate attention to voice leading to varying degrees. In Jazz Theory, Dariusz Terefenko writes that "[a]t the surface level, jazz voice-leading conventions seem more relaxed than they are in common-practice music."

  6. Consecutive fifths - Wikipedia

    en.wikipedia.org/wiki/Consecutive_fifths

    G are approached in similar motion from below. [2] Play ⓘ So-called hidden consecutives, also called direct or covered octaves or fifths, [11] [nb 3] occur when two independent parts approach a single perfect fifth or octave by similar motion instead of oblique or contrary motion.

  7. Traditional sub-Saharan African harmony - Wikipedia

    en.wikipedia.org/wiki/Traditional_sub-Saharan...

    Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).

  8. Melodic motion - Wikipedia

    en.wikipedia.org/wiki/Melodic_motion

    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 ...

  9. Parallel harmony - Wikipedia

    en.wikipedia.org/wiki/Parallel_harmony

    Parallel harmony is frequently used in house music and other electronic music genres. Historically, this resulted from producers sampling chords from soul or jazz and then playing them at different pitches, or using "chord memory" feature from classic polyphonic synthesizers.