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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 ...
For example, C to D (major second) is a step, whereas C to E (major third) is a skip. More generally, a step is a smaller or narrower interval in a musical line, and a skip is a wider or larger interval with the categorization of intervals into steps and skips is determined by the tuning system and the pitch space used.
In music, consonance and dissonance are categorizations of simultaneous or successive sounds.Within the Western tradition, some listeners associate consonance with sweetness, pleasantness, and acceptability, and dissonance with harshness, unpleasantness, or unacceptability, although there is broad acknowledgement that this depends also on familiarity and musical expertise. [1]
The disjunct tetrachords in the Enchiriadis system have been the subject of much speculation, because they do not correspond to the diatonic framework that became the standard Medieval scale (for example, there is a high F ♯, a note not recognized by later Medieval writers).
A musician who plays any instrument with a keyboard. In Classical music, this may refer to instruments such as the piano, pipe organ, harpsichord, and so on. In a jazz or popular music context, this may refer to instruments such as the piano, electric piano, synthesizer, Hammond organ, and so on. Klangfarbenmelodie (Ger.)
The term disjunct can refer to: disjunct (linguistics) disjunct or quincunx in astrology, an aspect made when two planets are 150 degrees, or five signs apart; a disjunct distribution in biology, one in which two closely related taxa are widely separated geographically; disjunct (music), a melodic skip or leap; operand of a logical disjunction
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.
The Concerto Grosso No. 1 was the first of six concerti grossi by Soviet composer Alfred Schnittke.It was written in 1976–1977 at the request of Gidon Kremer and Tatiana Grindenko who were also the violin soloists at its premiere on 21 March 1977 in Leningrad together with Yuri Smirnov on keyboard instruments and the Leningrad Chamber Orchestra under Eri Klas. [1]