#Polyphonic texture plus#
#Polyphonic texture series#

(Even so, it is usually the case that there is a significant amount of pitch organisation between simultaneous contrapuntal parts, even if they do not fit within a 'traditional' harmonic framework. (A polyphonic texture still 'has harmony'.)Īlthough a polyphonic texture is to a large extent conceived and perceived as layers of simultaneous 'horizontal' melodic lines, good contrapuntal writing must take account of the vertical relationships between parts, in other words, they must all fit within the ongoing harmonic framework of the piece.Īrguably, it is this very tension between horizontal melodic impetus and vertical harmonic relationships, that makes great contrapuntal (or polyphonic, if you like) music so satisfying to compose, perform and listen to.Īs a closing point (and maybe one for others to comment or respond to): arguably the harmonic relationship between parts breaks down in certain types of polyphonic modern music, where intervallic/motivic relationships in individual melodic parts can override the relationships between parts. Although independent to a certain degree (for instance, in terms of rhythm, contour, motif, intervallic character) these lines are still tied together by the overall harmonic framework.

#Polyphonic texture series#

A polyphonic texture does not rely upon a series of 'block-chords' (a homophonic texture) to reveal the harmonic progression of the music, but it still has a harmonic framework. Polyphony refers to a texture containing a number of independent melodic lines (or voices, if you like). Polyphony is a related, but quite different concept. There are two subtypes of polyphony: imitative. (When writing arrangements I'll often mark parts as Melody, Harmony and Bass parts.) But, strictly speaking, all of these parts, accompanimental or not, define the overall harmony. In many cases the two terms can be used like synonyms (example: contrapuntal texture polyphonic texture). However, the term harmony is often used informally to mean just this: parts of the musical texture that accompany a main melody part. It is important not to confuse the concepts of harmony and accompaniment harmony is not simply 'padding' between the main melody (if there is one) and the bass part. Harmony can be thought of as the framework of pitch relationships between any number of simultaneous elements in a musical texture, be they: melody, bass-line, block chords, multiple melodic lines, counter-melodies etc. Also, a single line or two-part counterpoint can easily imply a series of chords containing three and four (or more!) note chords. The exception, mentioned above, is that even a single melodic line will create a series of implied harmonies: sometimes this is very obvious, for instance a series of arpeggios sometimes it is ambiguous, as the single line could suggest a number of harmonies. However, it also refers to the 'horizontal' relationships between successive vertical relationships of pitches it's probably easiest to think of these as chord progressions. This tune is then played by all the other instruments or voices in turn, but not necessarily at the same pitch.Harmony refers to the 'vertical' relationship between simultaneous pitches in a musical texture (usually, but not always, chords - see below for the exception). Fugues always begin with a tune that is played on a solo instrument/sung by a solo voice or produced by instruments/voices in unison. playing the same melody in notes of different durationĪ fugue is a special type of polyphonic texture.

#Polyphonic texture plus#

This piece has been a nice change for my choir at a time when we’re learning a very challenging motet with lots of divisi for Easter Vigil plus a new polyphonic Mass for Easter Sunday.

changes in octave - it could be played higher or lower I don’t believe there’s any such thing as an easy motet, but this one is simple in its construction.

Sometimes imitations contain slight changes to the tune to make it more interesting. Musical composition can refer to an original piece or work of music, either vocal or instrumental, the structure of a musical piece or to the process of creating or writing a new piece of music. For example, a flute may imitate a tune just played by the oboe. Imitation is where a melody in one part is repeated a few notes later in a different part, overlapping the melody in the first part which continues. Polyphonic music may contain an element of imitation, where one voice or instrument copies what has just been played by another (think of a “round” like London's Burning.) Imitation Polyphonic music is also sometimes called contrapuntal music. Compare and contrast the general polyphonic texture you hear in Dufays Kyrie from Missa Ecce ancilladomini and Josquins Ave Maria with the texture you. Polyphonic music has parts that weave in and out of each other. Polyphony means “different sounds or voices”.