{"id":14342,"date":"2016-10-07T00:00:00","date_gmt":"2016-10-07T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=14342"},"modified":"2024-10-07T15:29:45","modified_gmt":"2024-10-07T23:29:45","slug":"5-important-contrapuntal-motions-every-classical-musician-must-know","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/5-important-contrapuntal-motions-every-classical-musician-must-know\/","title":{"rendered":"5 Important Contrapuntal Motions Every Classical Musician Must Know"},"content":{"rendered":"

In this lesson, we’ll be learning important contrapuntal motions that every serious classical musician must know.<\/p>\n

Warning: <\/strong>This lesson is written with classically trained musicians in mind. However, it can also be of help to anyone who is interested in gaining a classical perspective to the movement of notes.<\/p>\n

I’m aware that a vast majority of musicians reading this have little or no knowledge of contrapuntal music, therefore, permit me to start by giving you a background on contrapuntal music.<\/p>\n

“What Is Contrapuntal Music?”<\/em><\/h2>\n

Contrapuntal music is an important classical music style that features two independent notes – preferably known as voices<\/em>. These individual voices, considered as points, <\/em>are played point against point, creating a counterpoint.<\/p>\n

The Latin word for counterpoint (which is a description of the interaction between the voices) is contra<\/em> punctum <\/em>which literally means point against point. Any musical piece written in the counterpoint style can be said to be contrapuntal.<\/p>\n

Once again, contrapuntal music is a classical music style that features independent voices (mostly two or three) and several classical works in classical piano literature are contrapuntal; from Bach Inventions, to Fur Elise<\/em> and many more.<\/p>\n

It is true that independent melodies are against each other in contrapuntal music. However, there’s a conjunction between the melodies and relationships based on certain principles which we can’t cover in this lesson.<\/p>\n

Yes! The scope of contrapuntal music is wider than what we can possibly discuss in this short lesson. So, we’ll proceed into learning the possible ways the voices can move during a counterpoint.<\/p>\n

“Attention…”<\/em><\/p>\n

There are five known ways voices can move in contrapuntal music, and they are…<\/p>\n

    \n
  • Static Motion<\/li>\n
  • Parallel Motion<\/li>\n
  • Similar Motion<\/li>\n
  • Contrary Motion<\/li>\n
  • Oblique Motion<\/li>\n<\/ul>\n

    …let’s go ahead and explore them.<\/p>\n

    Static Motion<\/h2>\n

    In static motion, both voices are stationary.<\/p>\n

    “Check Out The Static Motion Between These Two Voices…”<\/em><\/p>\n

    C and C:
    \n
    \nC and C:
    \n
    \nC and C:
    \n
    \nC and C:
    \n
    \nC and C:
    \n
    \nGuess you saw how stationary both voices were throughout the excerpt. Playing and repeating exactly the same voices on the keyboard over and over creates a static motion.<\/p>\n

    Alright! We’re done with that, let’s look at other motions.<\/p>\n

    Parallel Motion<\/h2>\n

    In parallel motion, there’s a movement between the voices in the same direction, and maintaining the same interval.<\/p>\n

    There are two things to be mindful of in parallel motion:<\/p>\n

      \n
    • The same direction<\/strong><\/li>\n
    • The same interval<\/strong><\/li>\n<\/ul>\n

      To create a parallel motion between two voices, you must determine the interval (or distance) between them and move them in the same direction (either in ascending or descending direction.)<\/p>\n

      “Here’s An Example…”<\/em><\/p>\n

      Before creating a parallel motion between the voices C and A:
      \n
      \n…the first thing to do is to determine the interval between the voices.<\/p>\n

      Quick tip:<\/strong> The interval between C and A is a major sixth<\/strong>.<\/p><\/blockquote>\n

      Knowing that the interval between C and A is a major sixth, we can create a parallel motion between both voices by sticking to a major sixth interval in the same direction – whether ascending or descending.<\/p>\n

      “Here’s An Ascending Parallel Motion In Whole Steps<\/strong> Starting From C-A…”<\/em><\/p>\n

      C and A:
      \n
      \nD and B:
      \n
      \nE and C#:
      \n
      \nF# and D#:
      \n
      \nG# and F:
      \n<\/p>\n

      “Here’s An Ascending Parallel Motion In Half Steps<\/strong> Starting From C-A…”<\/em><\/p>\n

      C and A:
      \n<\/p>\n

      C# and A#:
      \n
      \nD and B:
      \n<\/p>\n

      Eb and C:
      \n
      \nE and C#:
      \n<\/p>\n

      I highly recommend the practice of parallel motion using various interval types in ascending and descending directions to all my students, you too can try it out.<\/p>\n

      Similar Motion<\/h2>\n

      Similar motion involves the movement of voices in the same direction, just like in the parallel motion but unlike in the parallel motion, the interval between the voices can change.<\/p>\n

      For example, the movement of voices from E-C:
      \n
      \n…to G-D:
      \n
      \n…to G-E:
      \n
      \n…to A-F:
      \n
      \n…and to C-G:
      \n
      \n…produces a similar motion.<\/p>\n

      Did you notice the change in the intervals?<\/p>\n

      E-C:
      \n
      \n…is a minor sixth<\/strong> interval.<\/p>\n

      G-D:
      \n
      \n…is a perfect fifth<\/strong> interval.<\/p>\n

      G-E:
      \n
      \n…is a major sixth<\/strong> interval.<\/p>\n

      A-F:
      \n
      \n…is a minor sixth<\/strong> interval.<\/p>\n

      C-G:
      \n
      \n…is also a perfect fifth<\/strong> interval.<\/p>\n

      “In A Nutshell…”<\/em><\/p>\n

      Save for the fact that the interval between the voices change in the similar motion, the parallel and similar motions are related.<\/p>\n

      Contrary Motion<\/h2>\n

      Contrary motion is the movement of voices in opposite direction. The contrary motion is one of the most important motions in contrapuntal music.<\/p>\n

      Studies have shown that the strength and independence of voices increase when they are in contrary motion with each other. When one voice ascends, the other descends and vice-versa.<\/p>\n

      A very common example of contrary motion is the warm-up exercise of playing the natural major scale in contrary motion.<\/p>\n

      “Check It Out…”<\/em><\/p>\n

      C-C:
      \n
      \nB-D:
      \n
      \nA-E:
      \n
      \nG-F:
      \n
      \nF-G:
      \n
      \nE-A:
      \n
      \nD-B:
      \n<\/p>\n

      C-C:
      \n“<\/em><\/p>\n

      …And Then It Begins To Descend…”<\/p>\n

      C-C:
      \n
      \nD-B:
      \n
      \nE-A:
      \n
      \nF-G:
      \n
      \nG-F:
      \n
      \nA-E:
      \n
      \nB-D:
      \n
      \nC-C:
      \n<\/p>\n

      “Also Check Out This One…”<\/em><\/p>\n

      C-C:
      \n
      \nB-D:
      \n
      \nBb-E:
      \n
      \nA-F:
      \n
      \nAb-G:
      \n
      \nG-A:
      \n
      \nF#-B:
      \n<\/p>\n

      F-C:
      \n<\/p>\n

      Let’s round up with the oblique motion.<\/p>\n

      Oblique Motion<\/h2>\n

      In oblique motion, one voice is static while the other one moves in any direction (whether ascending or descending.)<\/p>\n

      “Here’s An Oblique Motion With A Static Upper Voice…”<\/em><\/p>\n

      C-C:
      \n
      \nD-C:
      \n
      \nEb-C:
      \n
      \nE-C:
      \n
      \n“Here’s A Bluesy One…”<\/em><\/p>\n

      Gb-C:
      \n
      \nF-C:
      \n
      \nEb-C:
      \n
      \nC-C:
      \n
      \n“Here’s An Oblique Motion With A Static Lower Voice…”<\/em><\/p>\n

      C-Eb:
      \n
      \nC-E:
      \n
      \nC-G:
      \n
      \nC-A:
      \n
      \nC-C:
      \n<\/p>\n

      Final Words<\/h2>\n

      I’m certain you enjoyed this lesson. I also believe that now you have the idea of these five different contrapuntal motions at your disposal, that you’ll be able to identify these motions when a contrapuntal piece of music is played.<\/p>\n

      If you have questions or need clarification on any of the motions we studied in this lesson, kindly post them on the comment section.<\/p>\n

      I’ll see you in another lesson where we’ll further our discussion on contrapuntal music.<\/p>\n

      All the best!<\/p>\n","protected":false},"excerpt":{"rendered":"

      In this lesson, we’re covering all the contrapuntal motions every classical musician must know.<\/p>\n","protected":false},"author":9,"featured_media":22750,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[416,9],"tags":[17,2279,2278,2276,2277,2280,2281,2282],"class_list":["post-14342","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-experienced-players","category-piano","tag-basic-songs","tag-contrapuntal-motions","tag-contrapuntal-music","tag-contrary-motion","tag-oblique-motion","tag-parallel-motion","tag-similar-motion","tag-static-motion","post-wrapper","thrv_wrapper"],"yoast_head":"\n5 Important Contrapuntal Motions Every Classical Musician Must Know - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"In this lesson, we're covering all the contrapuntal motions every classical musician must know.\" \/>\n<meta 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