In music theory, contrapuntal motion is the general movement of two melodic lines with respect to each other. 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: contrary motion, similar motion, parallel motion, and oblique motion.
Contrary motion is motion in opposite directions. That is, when one of the lines moves up, the other line moves down. If the voices always move by the same intervals (in opposite directions) they are said to be in strict contrary motion.
The following example shows two voices in contrary motion Play:
Contrary motion is important to maintain independence of melodic movement in contrapuntal writing.
Similar motion is motion in the same direction, but with the interval between them changing. In other words, both lines move up, or both lines move down, but the interval between them is different in the first chord and the second chord. For example Play:
Oblique motion is motion of one melodic line while the other remains at the same pitch. For example Play:
Similar and oblique motion provide less independence than contrary motion, but more than parallel motion.
Parallel motion is motion in the same direction, keeping the same interval between them. For example Play:
Parallel motion at an interval of a perfect fifth is known as parallel or consecutive fifths, and at an interval of an octave is known as parallel or consecutive octaves. These motions are generally avoided in traditional counterpoint because they offer the lines so little independence from each other.
Famous quotes containing the word motion:
“The motion picture is like a picture of a lady in a half- piece bathing suit. If she wore a few more clothes, you might be intrigued. If she wore no clothes at all, you might be shocked. But the way it is, you are occupied with noticing that her knees are too bony and that her toenails are too large. The modern film tries too hard to be real. Its techniques of illusion are so perfect that it requires no contribution from the audience but a mouthful of popcorn.”
—Raymond Chandler (1888–1959)