In music theory, understanding the various kinds of motion in a musical passage is crucial for grasping the harmonic relationships between different chords. Motion refers to the movement of individual voices within a chord progression, and there are four main types of motion: parallel, similar, contrary, and oblique.
Parallel Motion: This occurs when two or more voices move in the same direction by the same interval. In harmonization, parallel motion between voices is generally avoided, especially in traditional four-part writing, as it can lead to a loss of independence and voice leading within the harmony.
Similar Motion: Similar motion happens when two voices move in the same direction but by different intervals. While similar motion can be used to create smooth transitions between chords, maintaining a balance between similar and contrasting motions is essential for a harmonically rich composition.
Contrary Motion: Contrary motion involves voices moving in opposite directions. This type of motion is highly valued in harmony as it often leads to strong harmonic resolutions and creates a sense of tension and release within the musical passage. Contrary motion is particularly effective in creating harmonic interest and depth.
Understanding and effectively utilizing these types of motion is essential for creating coherent and engaging harmonic progressions. By identifying and analyzing the motion within a musical passage, candidates will be able to enhance their ability to harmonize melodies, create compelling chord progressions, and develop a deeper understanding of the relationships between chords in a key. Candidates should be able to identify the various kinds of motion in a musical passage to enhance their skills in harmonization and composition.Oblique Motion: Oblique motion occurs when one voice remains stationary while the other voice or voices move up or down. This type of motion provides stability and creates a sense of continuity in the harmonic progression, serving as a grounding force amidst more active movements in other voices.
Ṣẹda àkọọlẹ ọfẹ kan láti wọlé sí gbogbo àwọn oríṣìíríṣìí ìkànsí ikẹ́kọ̀ọ́, àwọn ìbéèrè ìdánwò, àti láti tọpa ìlọsíwájú rẹ.
Oriire fun ipari ẹkọ lori Kinds Of Motion. Ni bayi ti o ti ṣawari naa awọn imọran bọtini ati awọn imọran, o to akoko lati fi imọ rẹ si idanwo. Ẹka yii nfunni ni ọpọlọpọ awọn adaṣe awọn ibeere ti a ṣe lati fun oye rẹ lokun ati ṣe iranlọwọ fun ọ lati ṣe iwọn oye ohun elo naa.
Iwọ yoo pade adalu awọn iru ibeere, pẹlu awọn ibeere olumulo pupọ, awọn ibeere idahun kukuru, ati awọn ibeere iwe kikọ. Gbogbo ibeere kọọkan ni a ṣe pẹlu iṣaro lati ṣe ayẹwo awọn ẹya oriṣiriṣi ti imọ rẹ ati awọn ogbon ironu pataki.
Lo ise abala yii gege bi anfaani lati mu oye re lori koko-ọrọ naa lagbara ati lati ṣe idanimọ eyikeyi agbegbe ti o le nilo afikun ikẹkọ. Maṣe jẹ ki awọn italaya eyikeyi ti o ba pade da ọ lójú; dipo, wo wọn gẹgẹ bi awọn anfaani fun idagbasoke ati ilọsiwaju.
Ṣẹda àkọọlẹ ọfẹ kan láti wọlé sí gbogbo àwọn oríṣìíríṣìí ìkànsí ikẹ́kọ̀ọ́, àwọn ìbéèrè ìdánwò, àti láti tọpa ìlọsíwájú rẹ.
Ṣẹda àkọọlẹ ọfẹ kan láti wọlé sí gbogbo àwọn oríṣìíríṣìí ìkànsí ikẹ́kọ̀ọ́, àwọn ìbéèrè ìdánwò, àti láti tọpa ìlọsíwájú rẹ.
Ṣe o n ronu ohun ti awọn ibeere atijọ fun koko-ọrọ yii dabi? Eyi ni nọmba awọn ibeere nipa Kinds Of Motion lati awọn ọdun ti o kọja.