Texture

by Dr. Craig Cummings




The musical parameter of texture refers to the number of parts or lines present and their relationships. The register (low, middle, high) and the spacing (close, average, wide) of the different parts are also significant. Some theorists even include the timbre, dynamics, and types of articulation as aspects of texture. Texture often functions as an important musical signalan alteration of the texture (however subtle) can signal upcoming change of some kind such as a transition or a new theme. There are four broad texture types: heterophony, monophony, polyphony, and homophony.


Heterophony


Heterophonic texture consists of simultaneous modifications of the same musical (melodic) material. In other words, it is two or more equally active lines sharing the same (or virtually identical) material. This type of texture is rare in Western commonpractice music.

Monophony


Monophonic texture simply refers to a single melodic line. It is fairly rare in Western common practice music; Gregorian and other chants are the best known examples.


Polyphony


Generally speaking, polyphonic texture refers to two or more independent voices of equal structural importance. There are at least two broad categories of polyphony: imitative and non-imitative.

I. Imitative polyphony




II. Non-imitative polyphony (sometimes called give and take).






Homophony


Generally speaking, homophonic texture consists of one prominent line and one or more subordinate parts. There are at least two broad categories of homophony: chorale texture and melody and accompaniment.

I. Chorale texture

a. Chordal setting

b. For instruments: brass, strings

c. Vocal setting, motet style

d. Chorale, baroque style





II. Melody and accompaniment



A. Accompaniments involving some sort of block chords







B. Accompaniments involving some sort of broken chords