Texture

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 - one independent layer of sound

Homophonic - layer of sound with chordal accompaniment

Polyphonic - 2 or more independent layers of sound

Heterophonic



Roles


Melody

  • The prominent (most important) layer (tune).


Accompaniment

  • Accompaniment is anything harmonically supports the main melody. 


Pulse reinforcing

  • Any instrumental line (layer) that is reinforcing/highlighting the pulse by performing a rhythmic pattern that compliments the time signature/tempo/pulse. 


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 while the alto sings a counter melody.


Accompaniment Styles


Broken Chord/Arpeggio 

  • 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.

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.

Omm 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.


Rhythmic Chordal Accompaniment

  • The chords are being performed using a rhythmic pattern (Ostinato) often by guitar or piano.


Sustained chords

  • Long or drawn chords


Acapella

  • A vocal (only)/sung piece with no instrumental accompaniment.


Canon


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


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.


Staggered Entries

  • When discussing the musical layers you may find that they enter one at a time. This is called a ‘staggered entry’. Staggered entries may be close, in quick suggestion or spread out over many bars. 

Tutti

  • All or everything































Structure