TEXTURE
From the Syllabus:
Texture results from the way voices and/or instruments are combined in music.
Students should be able to discuss the following aspects of texture as relevant to the
music studied:
• the layers of sound and their function
• the roles of instruments and/or voices.
Texture results from the way voices and/or instruments are combined in music.
Students should be able to discuss the following aspects of texture as relevant to the
music studied:
• the layers of sound and their function
• the roles of instruments and/or voices.
Layer
Doubling Unison Motion - Contrary - Similar - Parallel - Oblique Monophonic Homophonic Polyphonic Heterophonic Roles - Melody - Accompaniment - Pulse reinforcing - Counter Melody |
Accompaniment Styles
- Broken Chord/Arpeggio - Chordal - Continuo (Basso Continuo) - Full chords - Omm pah pah - Rhythmic Chordal Accompaniment - Sustained chords Acapella Canon Density Fugue Staggered Entries Tutti |
Role - Melody
The prominent (most important) layer (tune).
The prominent (most important) layer (tune).
Role - Accompaniment
Accompaniment is anything harmonically supports the main melody.
Accompaniment is anything harmonically supports the main melody.
Role - Pulse Reinforcing
Any instrumental line (layer) that is reinforcing/highlighting the pulse by performing a rhythmic pattern that compliments the time signature/tempo/pulse. In the first example the Ostinato in the bass (him boh hum beah) is pulse reinforcing. In the 2nd example the rhythmic Ostinato on the synthesizer is pulse reinforcing. The last example uses percussion as pulse reinforcing instruments. The last example the electric guitar is pulse reinforcing by playing continuous quavers with accents.
Any instrumental line (layer) that is reinforcing/highlighting the pulse by performing a rhythmic pattern that compliments the time signature/tempo/pulse. In the first example the Ostinato in the bass (him boh hum beah) is pulse reinforcing. In the 2nd example the rhythmic Ostinato on the synthesizer is pulse reinforcing. The last example uses percussion as pulse reinforcing instruments. The last example the electric guitar is pulse reinforcing by playing continuous quavers with accents.
Role – Counter Melody
A melodic line that is independent of the main melody performed at the same time. Countermelodies are usually in a higher or lower register but can be in the same octave as the main melody. In this example from Rossini’s Opera ‘Semerimade’ the soprano sings the melody wile the alto sings a counter melody.
A melodic line that is independent of the main melody performed at the same time. Countermelodies are usually in a higher or lower register but can be in the same octave as the main melody. In this example from Rossini’s Opera ‘Semerimade’ the soprano sings the melody wile the alto sings a counter melody.
In this example you will hear the recorder play a melody while the viola plays a lower counter melody. You also get another classic counter melody moment!
Accompaniment Styles
Broken Chord/Arpeggio – Notes of the chord played one after the other.
Broken Chord/Arpeggio – Notes of the chord played one after the other.
Chordal – The accompaniment consists of chords. The chords may follow the rhythm of the melodic line or have an independent rhythm. See ‘Homophonic’ in TEXTURE.
Continuo (Basso Continuo) – A Baroque accompaniment. The Continuo part is the Cello/Bass and Harpsichord. The harpsichord plays the same bass line as the Cello and improvises chords and accompaniment figures in the right hand.
Full Chords – As the name suggests, full chords. Can be created by a piano or several guitars or orchestral instruments combining to create full chords.
‘Oom pah pah’ – An accompaniment used generally in 3/4 time with the first note in the bass and chords played on the 2nd and 3rd crotchet. This example is in 3/8 so the bass note is on the first quaver and the chords are on the 2nd and 3rd quavers.
Rhythmic
Chordal Accompaniment – The chords are being performed using a rhythmic pattern
(Ostinato) often by guitar or piano.
Sustained Chords – Long or drawn out chords. This may be related to a drone chord.
Acapella
A vocal (only)/sung piece with no instrumental accompaniment. There may be vocal accompanimen
A vocal (only)/sung piece with no instrumental accompaniment. There may be vocal accompanimen
Canon
See ‘Canon’ in STRUCTURE
See ‘Canon’ in STRUCTURE
Density
The textural density of a song is defined by the number of instruments. A full Romantic orchestra playing would create a very full texture.
Empty - No instruments
Sparse - Very thin
Moderately full - 3-4 Instruments
Full - a large group of instruments
Very Full / Dense - A very large group of instruments
NOTE: The number of different layers can affect textural density. A piece with melody, accompaniment, pulse reinforcement and counter melodies can have a dense texture. A rock band of 4-5 instruments can still create a full texture. Make sure you justify your density claims.
The textural density of a song is defined by the number of instruments. A full Romantic orchestra playing would create a very full texture.
Empty - No instruments
Sparse - Very thin
Moderately full - 3-4 Instruments
Full - a large group of instruments
Very Full / Dense - A very large group of instruments
NOTE: The number of different layers can affect textural density. A piece with melody, accompaniment, pulse reinforcement and counter melodies can have a dense texture. A rock band of 4-5 instruments can still create a full texture. Make sure you justify your density claims.
Fugue
A polyphonic construction that involves the overlapping of a theme, similar to a canon. See ‘Fugue’ in STRUCTURE.
A polyphonic construction that involves the overlapping of a theme, similar to a canon. See ‘Fugue’ in STRUCTURE.
Staggered Entries
When discussing the musical layers you may find that they enter one at a time. This is called a ‘staggered entry’. For examples see ‘Canon’ and ‘Fugue’ in STRUCTURE. Staggered entries may be close, in quick suggestion or spread out over many bars. Here is a brief example from ‘O Thou that Tellest’ from Handel’s Messiah. You will here the sopranos sing ‘O Thou that Tellest’ soon after the basses sing the same followed by the tenors. This ‘one after the other’ is a staggered entry’.
When discussing the musical layers you may find that they enter one at a time. This is called a ‘staggered entry’. For examples see ‘Canon’ and ‘Fugue’ in STRUCTURE. Staggered entries may be close, in quick suggestion or spread out over many bars. Here is a brief example from ‘O Thou that Tellest’ from Handel’s Messiah. You will here the sopranos sing ‘O Thou that Tellest’ soon after the basses sing the same followed by the tenors. This ‘one after the other’ is a staggered entry’.
Tutti
All or everyone.
See ‘Ritornello’ in STRUCTURE
All or everyone.
See ‘Ritornello’ in STRUCTURE
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