Texture�A2 Music: Composition!
Learning Objec-ves
1. To explore the use of texture in music
2. Be able to compose using a range of textures
Monophony (adj. monophonic)
✤ One single voice or part with no accompaniment
✤ Examples: Berio -‐ Sequenzas (18 in total clarinet, flute, harp & woman’s voice) Bach -‐ Cello Suites, Hartmann -‐ Unaccompanied solo for violin
Homophony (adj. homophonic)
✤ Music where all the parts move together at the same -me, oRen by step, in harmony
✤ If there is no clear melody then the texture can also be referred to as homorhythmic
✤ ORen the top line will dominate the texture and may create a melody dominated homophonic texture
✤ Examples include: Henry VII -‐ “Pas-me with good company” Many works by Tallis (e.g.“If ye love me”) Mozart -‐ “March of the Priests” from the Magic Flute. Elgar -‐ “Trio from March No.1 in D
Homophony (adj. homophonic)
✤ Elgar -‐ “Trio from March No.1 in D Major (Pomp & Circumstance).”
Melody Dominated Homophony
✤ Mozart -‐ “March of the Priests” from the Magic Flute.
Melody Dominated Homophony
Polyphony (adj. polyphonic)
✤ This word describes any texture in which parts are moving independently. More than one independent melody is usually present
✤ Different forms of polyphony can be dis-nguished when other musical devices or rules are employed (e.g. canon, counterpoint, fugue)
✤ This texture may commonly use an element imita-on
✤ Examples include: Bach -‐ Brandenburg Concerto
✤ Bach -‐ Brandenburg Concerto No. 1 in F Major -‐ Allegro
Canonic (Canon)
✤ Imita-on of a theme or melody aRer a given dura-on
✤ Examples: Bach -‐ “Goldberg Varia-ons” Franceschnini -‐ “Sonata in D
Fugue
✤ A type of polyphony which is built on a subject (theme). The texture in itself is based on canonic imita-on (
✤ The main subject (stated at the beginning & end of the fugue) is imitated by the other instruments, parts or voices.
✤ These imita-ons, depending on their point of entry, are given names, such as answer, counter subject, episode and interlude
✤ Examples include: Bach -‐ Fugues (Well Tampered Clavier)
analyse the first 16 bars:
✤ The subject is stated in bar 1 in the tonic key. This subject emphasises the dominant (bar 21) and finishes on the mediant (bar 31)
✤ The subject is then repeated in the 2nd voice at the start of bar 3, this -me in the dominant key which is called an answer.
✤ Whilst the answer is stated, the counter melody is con-nued by voice 1 (bar 31) which is material heard again throughout the piece, for example in bar 71 and bar 111.
✤ The first 8 bars form the exposi-on which is then followed by 3 episodes (bars 9-‐10, 11-‐12 and 13 -‐ 14) before the counter subject is heard again (bars 15 -‐16), followed by counter melody 2 (Bar 153).
✤ These episodes of the fugue take melodic material from the subject and counter melody. They also modulate to related keys, such as Eb Major (bar 111)
An-phony (adj. An-phonal )
✤ Texture where two parts (or groups) alternate with the same or similar material
✤ Examples include: Corelli -‐ Concerto Grosso Taverner -‐ O Wilhelme, Pastor Bone.
Heterophony (adj. Heterophonic)
✤ The simultaneous varia-on of a single melody
✤ Example Bach -‐ Cantata no. 147 “Herz und Mund und Tat und Leben”