Last updated 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 motion, the melodic phrase moves in a stepwise fashion; that is the subsequent notes move up or down a semitone or tone, but no greater. In a disjunct melodic motion, the melodic phrase leaps upwards or downwards; this movement is greater than a whole tone. In popular Western music, a melodic leap of disjunct motion is often present in the chorus of a song, to distinguish it from the verses and captivate the audience.
Bruno Nettl describes various types of melodic movement or contour (Nettl 1956, 51–53):
Ascending: Upwards melodic movement
Descending: Downwards melodic movement (prevalent in the New World and Australian music)
Undulating: Equal movement in both directions, using approximately the same intervals for ascent and descent (prevalent in Old World culture music)
Pendulum: Extreme undulation that covers a large range and uses large intervals is called pendulum-type melodic movement
Tile, terrace, or cascading: a number of descending phrases in which each phrase begins on a higher pitch than the last ended (prevalent in the North American Plain Indians music)
Arc: The melody rises and falls in roughly equal amounts, the curve ascending gradually to a climax and then dropping off (prevalent among Navajo Indians and North American Indian music)
Rise: may be considered a musical form, a contrasting section of higher pitch, a "musical plateau".
Other examples include:
Double tonic: smaller pendular motion in one direction
These all may be modal frames or parts of modal frames.
In music, counterpoint is the relationship between two or more musical lines which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. The term originates from the Latin punctus contra punctum meaning "point against point", i.e. "note against note".
A melody, also tune, voice or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively, the term can include other musical elements such as tonal color. It is the foreground to the background accompaniment. A line or part need not be a foreground melody.
In music theory, an interval is a difference in pitch between two sounds. An interval may be described as horizontal, linear, or melodic if it refers to successively sounding tones, such as two adjacent pitches in a melody, and vertical or harmonic if it pertains to simultaneously sounding tones, such as in a chord.
In music theory, a tetrachord is a series of four notes separated by three intervals. In traditional music theory, a tetrachord always spanned the interval of a perfect fourth, a 4:3 frequency proportion —but in modern use it means any four-note segment of a scale or tone row, not necessarily related to a particular tuning system.
A nonchord tone (NCT), nonharmonic tone, or embellishing tone is a note in a piece of music or song that is not part of the implied or expressed chord set out by the harmonic framework. In contrast, a chord tone is a note that is a part of the functional chord (see Factor ). Non-chord tones are most often discussed in the context of the common practice period of classical music, but they can be used in the analysis of other types of tonal music as well, such as Western popular music.
In Western musical theory, a cadence is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards. A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs.
Indigenous music of North America, which includes American Indian music or Native American music, is the music that is used, created or performed by Indigenous peoples of North America, including Native Americans in the United States and Aboriginal peoples in Canada, Indigenous peoples of Mexico, and other North American countries—especially traditional tribal music, such as Pueblo music and Inuit music. In addition to the traditional music of the Native American groups, there now exist pan-Indianism and intertribal genres as well as distinct Native American subgenres of popular music including: rock, blues, hip hop, classical, film music, and reggae, as well as unique popular styles like chicken scratch and New Mexico music.
Voice leading is the linear progression of individual melodic lines and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint.
A heptatonic scale is a musical scale that has seven pitches, or tones, per octave. Examples include:
Pueblo music includes the music of the Hopi, Zuni, Taos Pueblo, San Ildefonso, Santo Domingo, and many other Puebloan peoples, and according to Bruno Nettl features one of the most complex Native American musical styles on the continent. Characteristics include common use of hexatonic and heptatonic scales, variety of form, melodic contour, and percussive accompaniment, melodic range averaging between an octave and a twelfth, with rhythmic complexity equal to the Plains Indians musical sub-area.
In music, a step, or conjunct motion, is the difference in pitch between two consecutive notes of a musical scale. In other words, it is the interval between two consecutive scale degrees. Any larger interval is called a skip, or disjunct motion.
In music, a sequence is the restatement of a motif or longer melodic passage at a higher or lower pitch in the same voice. It is one of the most common and simple methods of elaborating a melody in eighteenth and nineteenth century classical music. Characteristics of sequences:
Diatonic and chromatic are terms in music theory that are most often used to characterize scales, and are also applied to musical instruments, intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900.
A jins in traditional Arabic music theory, is a set of three, four, or five stepwise pitches used to build an Arabic maqam, or melodic mode. They correspond to the English terms trichord, tetrachord, and pentachord. A maqam is made up of two or more ajnas.
Carnatic raga refers to ragas used in Carnatic music. A Carnatic raga has several components - primordial sound (nāda), tonal system (swara), pitch (śruti), scale, ornaments (gamaka) and important tones.
Dastgāh-e Māhūr or Dastgaah-e Maahur is one of the seven Dastgāhs of Persian Music.
Pauline Duchambge née de Montet was a French pianist, singer, and composer.
An incomposite interval is a concept in the Ancient Greek theory of music concerning melodic musical intervals between neighbouring notes in a tetrachord or scale which, for that reason, do not encompass smaller intervals. Aristoxenus defines melodically incomposite intervals in the following context:
Let us assume that given a systēma, whether pyknon or non-pyknon, no interval less than the remainder of the first concord can be placed next above it, and no interval less than a tone next below it. Let us also assume that each of the notes which are melodically successive in each genus will either form with the fourth note in order from it the concord of a fourth, or will form with the fifth note from it in order the concord of a fifth, or both, and that any note of which none of these things is true is unmelodic relative to those with which it forms no concord. Let us further assume that given that there are four intervals in the fifth, of which two are usually equal and two unequal, the unequal ones are placed next to the equal ones in the opposite order above and below. Let us assume that notes standing at the same concordant interval from successive notes are in succession with one another. Let us assume that in each genus an interval is melodically incomposite if the voice, in singing a melody, cannot divide it into intervals.
This is a glossary of Schenkerian analysis, a method of musical analysis of tonal music based on the theories of Heinrich Schenker (1868–1935). The method is discussed in the concerned article and no attempt is made here to summarize it. Similarly, the entries below whenever possible link to other articles where the concepts are described with more details, and the definitions are kept here to a minimum.
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism, homophonic polyphony, counter-melody and ostinato-variation. Polyphony is common in African music and heterophony is a common technique as well. Although these principles of traditional African music are of Pan-African validity, the degree to which they are used in one area over another varies. Specific techniques that used to generate harmony in Africa are the "span process", "pedal notes", "rhythmic harmony", "harmony by imitation", and "scalar clusters".
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