Harmonic Movement

See also: Movement

In harmony, a harmonic movement - or harmonic progression - is a simultaneity of two melody movements.

  • a harmonic movement always includes four notes formant four intervals: horizontally, two melody intervals simultaneous ; vertically, two harmonic intervals successive . The second harmonic interval is regarded as the harmonic interval produced by the movement in question.

  • the traditional harmony opposes two classes of harmonic interval: the consonance and the Dissonance. The realization of the latter requires a preparation and a resolution.

  • There exist four cases of harmonic movements: the movement obliques, the parallel movement, the direct movement and the contrary movement.

Movement obliques

A movement obliques is a harmonic movement being carried out when a left remains in place while the other moves - i.e., assembles or descends . This movement practically makes it possible to bring any harmonic interval. It is in addition the only harmonic movement which allows to prepare strictly a Dissonance while making hear one of its notes in the preceding harmonic interval.

the oblique movement is the harmonic process oldest: its origin being doubtless former to the the Middle Ages, it constitutes to some extent the prehistory of the Polyphonie. The bumblebee S of certain traditional instruments - Bagpipe, Bagpipe, Chabrette, Hurdy-gurdy with wheel, etc - are an illustration.

  • Examples:

Parallel movement

A parallel movement is a harmonic movement being carried out when both left S move in the same direction - i.e., when both assemble , or both descend - and that the figure of the harmonic interval between these two parts remains identical . In theory, this movement is not appropriate that for the imperfect consonances.

the parallel movement, generally considered as the primitive polyphony , comes to be added to the contrary movement between the IX {{E}} and the 11th century. In the parallel movement, the melody of accompaniment did not conquer yet its independence, since it is only the shade of the principal melody , shifted at a constant distance - a of the same interval figure separates the two melodies indeed. The interval separating the two melodies is first of all the fifth or the quad - it is the process of the Organum. With XIe and XII {{E}} centuries, this interval becomes the third or the sixth - it is the process of the Gymel and the False-bumblebee.

  • Examples:

Direct movement

A direct movement is a harmonic movement being carried out when both left move in the same direction - i.e., when both assemble , or both descend - but that the figure of the harmonic interval between the two parts changes - with the difference of the parallel movement. This movement gives birth to from many observations in the field of the perfect consonances as in that of the Dissonance S.

the direct movement supposes a greater independence of the voice; it is chronologically posterior with the parallel movement.

  • Examples:

Contrary movement

A contrary movement is a harmonic movement being carried out when both left S move in opposite direction - i.e., when one assembles , and that the other descends . This movement is also appropriate for all the harmonic intervals except the consecutive perfect consonances.

Starting from the use of the contrary movement, at the end of the 12th century, the various voices become completely independent: it is the process of the Déchant, which marks the true birth of the counterpoint, ancestor of the tonal harmony.

  • Examples:

  • If the two successive harmonic intervals determined by a harmonic movement are of the same figure (for example, two thirds consecutive , or two consecutive fifths , etc), one has business with a parallel movement normally. However, it can also be a question of a contrary movement : in this case, one at least of the two harmonic intervals is redoubled.

Exchange

A exchange is a contrary particular case of movement in which each left progresses towards the note of the other part.

  • an exchange can take place, with common note (examples has & B), or without (examples C & D), and can be made either with the octave (examples B & D), or with the unison (examples has & C). An exchange in unison causes a crossing between the parts concerned (examples has & C). Examples:

See too

Internal bonds

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