Introduction

Texture discussed in terms of  Thick and Thin textures 
Texture describes  the combination  melodic, rhythmic, and harmonic materials in a composition.  It is often described in terms of density – thick or thin which  is determined primarily by the number  voices  (or parts). A thick texture would contain man  “layers”  (or voices) of instruments or vocal parts or  both. A texture  with only a few layers would sound thin.

Four Categories of Texture
The following discussion of the four texture is quire long. Do not loose track of the  definitions of each of the four textures described below. Listen to the  examples but  maybe not the entire example (They are interesting to hear).  We attempt to more specifically describe texture using  the  categories  below.
The four common  common categories of texture  we will examine:
        1.  Monophonic
        2.  Polyphonic
        3.  Homophonic  (includes Homorhythmic or heterophonic)
        4 . Mixed (combination of polyphonic and mixed textures)

Below are short video examples of monophonic, homophonic, and polyphonic  textures:

Learn the definitions of the four textures  and learn to  distinguish between them.  Discussion and numerous examples are presented below.

Monophonic Texture
Monophonic texture occurred at the beginning of Western European musical culture, before harmony and counter melodies  evolved. Music with monophonic texture  may be defined as having only one melodic line, with no harmony or additional melodies.

Examples  of monophonic texture.
One person whistling a tune – single unaccompanied melody
A single bugle sounding “Taps” – single melody with not harmony
A group of people all singing a song together in unison, without additional parts  or instruments – such as the stars Spangled Banner without harmony – only melody
A fife and drum corp, with all the fifes playing the same melody   (such as  Yankee doodle) but no other parts.

Listen to this song: One Year begins (first on the list) which  includes one solo singer (monophonic texture)  One Year Begins

Listen for the cello performing a single melody in Bach’s Cello Suites.

Monophonic texture can also be present a single melody  sung (or played)  by more than one singer or player.

In this selection, sometimes one person sings, and, sometimes, more than one person sings (See item 1, above); however, they are all singing the same melody with no harmony (accompaniment) – one part only. . Monophonic.

In this work Long sections of “The People that Walked in Darkness” aria in Handel’s “Messiah” are monophonic (the instruments are playing the same line as the voice). Apparently Handel associates monophony with “walking in darkness”!

Some parts  (during  the  instrumental interludes have  harmony  (homophonic texture – not monoophonic)  but largely this work is monophonic with instruments and singer singing and playing the same melody.

 

Melodies sung at the octave: Even  if the melody is sung (or played) in octaves
texture is monophonic. (Pitches an octave apart are, in essence, one in the
same .

Note that if only one instrument is performing it may not necessarily mean it is performing monophonic texture Instruments such as Piano or guitar  may perform harmony and polyphonic  and mixed textures.   Do not  assume that because a single instrument is performing, the texture is  automatically monophonic.   Of course a piano can play   many  textures (with ten fingers) as can the guitar and numerous other instruments.

Homophonic Textrure
Homophonic texture has  chords, accompaniment, and  harmony.  There is one clearly melodic line  which draws your attention. Other parts provide accompaniment or fill in the chords. The parts that are not melody may still have some  melodic interest. but still may not be independent melodic parts hence  they are harmony or supporting parts. Supporting parts may   have the same rhythm as the melody but their purpose is still  to fill in the chords or harmony (i.e. they are not additional  melodies).  Homophonic texture  can also be called homophony.

Examples of Homophony
Most traditional Protestant hymns and most “barbershop quartet” music are of  homophonic. texture.  Choral music in which the parts have mostly the same rhythms at the same time is homophonic.
Othert examples wold be: a singer accompanied by a guitar picking or strumming chords, a small jazz combo with a bass, a piano, and a drum set providing the “rhythm” background for a trumpet improvising a solo., a single bagpipes or accordion player playing a melody with drones or chords.

If you hear the melody, listen for the presence of harmony. It can take on many forms and shapes, depending on the style and the period in which it was written.  For example,  the traditional “basso continuo” of the Baroque period is noticeably different from the harmony of the Classical period, for example.

“Rigoletto” by Verdi – Listen only to  0’16” through 2’10” for homophopinc texture

 

Homorhythm is harmony moving in synchronization with the melody. For this
course, we will refer to homorhythmic texture as homophonic texture.

Varieties of Homophonic Texture:
Heterophonic  texture is rare in Western music. In heterophony, there is only one melody, but different variations of it are being sung or played at the same time.

Heterophony can be heard in the Bluegrass, “mountain music”, Cajun, and Zydeco traditions.

Some Middle Eastern, South Asian, central Eurasian, and Native American music traditions include heterophony. Listen for traditional music (most modern-composed music, even from these cultures, has little or no heterophony) in which singers and/or instrumentalists perform the same melody at the same time, but give it different embellishments or ornaments

Polyphonic Texture
If more than one independent melody is occurring at the same time, the texture is polyphonic. Polyphonic music can also be called polyphony, counterpoint, or contrapuntal music. Listen for additional melodies.  The melodies  can be subtle, winding, and sometimes elusive. As long as they exist, we have polyphony. Contrapuntal devices, such as  canon, and round which contain imitation (repetition of a motive or melody in other parts)  are significant types of polyphonic textures.

Examples of Polyphony

• Rounds, canons, and fugues. (Melodies sung  or played  at different times, represent polyphonic texture.
• Baroque music is often  contrapuntal or polyphonic, particularly the works of J.S. Bach.
• Music for large instrumental groups such as bands or orchestras can easily be contrapunctal and  have polyphonic texture).

 

Mixed Texture
The one remaining texture is mixed texture, a combination of polyphonic and homophonic textures. We need to realize that all composers are not necessarily trying to adhere to a particular texture  category (except by tradition). when composers  include textures which include both polyphonic and homophonic elements the texture is  mixed. So mixed texture is simply a combination of polyphonic and homophonic.  It simply involves having more than one melody and also having harmony (support or accompaniment)

Listen to this  selection of the Hallelujah Chorus from Handel’s Messiah. Begin listening at 0’50”. If you listen from the beginning you will hear other examples of monophonic texture  ()’25” and 0’36”  –  all singers and instruments singing and playing  the same melody) as well  as homophonic (very beginning)   and polyphonic. textures (throughout the work).

Listening Activity  

A good example of this is “The Hallelujah Chorus,” from Handel’s Messiah  Part II: Easter Section). It contains all four textures: monophonic (small sections), polyphonic, homophonic (or homorhythmic, in chorale-like sections), and mixed. You will hear this mixed  texture quite often.  (You may want to turn up the volume.)

Remember that mixed texture means polyphonic and homophonic occurring at the same time (simultaneously). If these textures occur at different times (alternating), then you do not have mixed texture. You simply have textures that alternate.

Listening exercises:  Test yourself –  Determine the Texture

Thick or Thin Textures –  As you  have listened to the above examples of texture you may have notice that some of the examples have thicker textures abd others have thinner textures. . This could result in the numbers of instrumnents or voices performing  or the manner in which a work might have been scored. Consider whether the texture  you are hearing is “thick or thin” as you listen and  describe texture.  All four textures can have thicker or thinner characteristics!