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Isorhythms first appear in French motets of the 13th century, such as in the Montpellier Codex. [1] Although 14th-century theorists used the words talea and color—the latter in a variety of senses related to repetition and embellishment [2] —the term isorhythm was coined in 1904 by musicologist Friedrich Ludwig, initially to describe the practice in 13th-century polyphony.
Klangfarbenmelodie (German for "sound-color melody") is a musical concept that treats timbre as a melodic element. Arnold Schoenberg originated the idea. It has become synonymous with the technique of fragmenting a melodic line between different timbres.
A literal repetition of a musical passage is often indicated by the use of a repeat sign, or the instructions da capo or dal segno. Repetition is a part and parcel of symmetry—and of establishing motifs and hooks. You find a melodic or rhythmic figure that you like, and you repeat it throughout the course of the melody or song. This sort of ...
In isorhythmic compositions, a composition technique characteristic of motets in the 14th and early 15th centuries, the term color refers to a sequence of repeated notes in the cantus firmus tenor of a composition. The color is typically divided into several taleae, sequences that have the same rhythmic sequence. [citation needed]
Simple melodic pattern. Play ⓘ Melodic sequence on the lines "Send her victorious," and "Happy and glorious," from "God Save the Queen" Play ⓘ. In music and jazz improvisation, a melodic pattern (or motive) is a cell or germ serving as the basis for repetitive pattern.
Musical set theory uses the language of mathematical set theory in an elementary way to organize musical objects and describe their relationships. To analyze the structure of a piece of (typically atonal) music using musical set theory, one usually starts with a set of tones, which could form motives or chords.
Different types of musical cycles can overlap. One example is isorhythm, the medieval practice of using melodic and rhythmic cycles in one or two voices. There is a certain sequence of pitch material (known as the color) and a separate sequence of rhythmic values (known as the talea), which has a different length.
A false sequence is a literal repetition of the beginning of a figure and stating the rest in sequence: [1] J.S. Bach Prelude from Cello Suite in G J.S. Bach Prelude from Cello Suite in G, BWV 1007 A modulating sequence is a sequence that leads from one tonal center to the next, with each segment technically being in a different key in some ...