Fig. 146
The movement here is up-to-the-right, because of convergences in that direction and an extension of contrasts in that direction.
Fig. 147
In this case the two movements part company. One leads the eye up-to-the-left, the other leads it up-to-the-right. The movement as a whole is approximately up. As the direction of the intervals is horizontal, not vertical, this is a case of movement without Rhythm. The movement will become rhythmic only in a vertical repetition. That is to say, the direction or directions of the movement in any Rhythm and the direction or directions of its repetitions must coincide. In [Fig. 139], the movement is up-to-the-right, and the intervals may be taken in the same direction, but in [Fig. 147] the movement is up. The intervals cannot be taken in that direction. It is, therefore, impossible to get any feeling of Rhythm from the composition. We shall get the feeling of Rhythm only when we repeat the movement in the direction of the movement, which is up.
Fig. 148
Here we have a vertical repetition of the composition given in [Fig. 147]. The result is an upward movement in regular and marked intervals, answering to our understanding of Rhythm.
Fig. 149