Texture
A2 Music: Composition
Learning Objectives
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 5me, o7en by step, in harmony
If there is no clear melody then the texture can also be referred to as homorhythmic
O7en the top line will dominate the texture and may create a melody dominated homophonic texture
Examples include: Henry VII -­‐ “PasDme 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 Major (Pomp & Circumstance).”
Homophony (adj. homophonic)
Melody Dominated Homophony ✤
Elgar -­‐ “Trio from March No.1 in D Major (Pomp & Circumstance).”
Melody Dominated Homophony ✤
Mozart -­‐ “March of the Priests” from the Magic Flute.
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 dis5nguished 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)
✤
✤
Imita5on of a theme or melody a7er a given dura5on
Examples: Bach -­‐ “Goldberg VariaDons” 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 imita5ons, depending on their point of entry, are given names, such as answer, counter subject, episode and interlude
Examples include: Bach -­‐ Fugues (Well Tampered Clavier)
Example: Bach -­‐ Fugue no.2 in C minor
The fugue has 3 voices which move independently un5l the final 2 bars -­‐ we will 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)
Whilst the answer is stated, the counter melody is con5nued 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)
Antiphony (adj. Antiphonal )
✤
✤
Texture where two parts (or groups) alternate with the same or similar material
Examples include: Corelli -­‐ Concerto Grosso Taverner -­‐ O Wilhelme, Pastor Bone (refer to your set works annotaDon from Thursday’s lesson).
Heterophony (adj. Heterophonic)
✤
✤
The simultaneous varia5on of a single melody
Example Bach -­‐ Cantata no. 147 “Herz und Mund und Tat und Leben” Texture: Composition Task
Your task is to compose a short example of music which matches the type of texture you are given. The composi5on must be no longer than 16 bars. You have 30 minutes -­‐ you must be able to score & perform/record your composi5on in that 5me.
1. Michael & Liz -­‐ Melody dominated homophony (we will hear your accompaniment & melody line independently to act as the monophonic & homophonic examples)
2. Ben -­‐ An5phony
3. Anna -­‐ Heterophonic
4. Fred -­‐ Fugue (minimum of subject & counter melody)
5. Patricia -­‐ Canonic
Texture: Composition Task
Now that you have seen a range of examples which uses a variety of textures, compose your own piece of music which makes use of a range of textures.
You should aim to make use of each type of texture at least once (this will not always be appropriate, but for the purpose of the exercise -­‐ try it!)
You should score your composiFon as accurately as possible & build in ideas from your sonaDna composiFon (in parFcular harmony, tonality & structure) which you completed last lesson