{"id":531,"date":"2023-05-11T19:02:44","date_gmt":"2023-05-11T19:02:44","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/texture\/"},"modified":"2025-08-13T18:29:02","modified_gmt":"2025-08-13T18:29:02","slug":"texture","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/texture\/","title":{"raw":"Texture","rendered":"Texture"},"content":{"raw":"<div class=\"texture\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 13<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>Some of the most common texture types in tonal music<\/li>\r\n \t<li>How to identify chords in various textures<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">In practice, chords can manifest in one of many different textures, and it is important to become adept at recognizing chords in any texture. The most common kinds of texture are outlined in Figure 13\u20111.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 13\u20111. Common types of texture<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Fig-13.1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Fig-13.1-1024x1012.png\" alt=\"chart listing the five primary types of texture: monophonic, homorhythmic, homophonic, hetereophonic, and polyphonic, with descriptions of each\" width=\"1024\" height=\"1012\" class=\"alignnone wp-image-3437 size-large\" \/><\/a>\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-13.1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 13.1<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Monophony\"><\/a>Monophony<\/h1>\r\n[pb_glossary id=\"1751\"]Monophonic[\/pb_glossary] textures occur in music for solo, single-line instruments or voices, without accompaniment. Example 13\u20111 shows a typical monophonic texture found in a chant composed by Hildegard von Bingen, a Benedictine nun.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 13\u20111. Monophony: Hildegard von Bingen, \u201cO virgo ac diadema\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.1-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.1-rev-1024x267.png\" alt=\"image of score\" width=\"1024\" height=\"267\" class=\"alignnone wp-image-5649 size-large\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-12.1.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Voices of Ascension, on <a href=\"https:\/\/open.spotify.com\/track\/25ZDTfjbGJZuiZhse2OOka?si=6b73ac7d4e034783\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nRead an <a href=\"http:\/\/www.hildegard-society.org\/2014\/09\/o-virga-ac-diadema-sequence.html\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the song text on the <a href=\"http:\/\/www.hildegard-society.org\" target=\"_blank\" rel=\"noopener\">website<\/a> for the International Society of Hildegard von Bingen Studies.\r\n\r\nLearn about German Benedictine abbess, visionary, writer, and composer <strong>Hildegard von <\/strong><strong>Bingen<\/strong> (1098\u20131179) by reading this <a class=\"rId163\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.13016\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Ian D. Bent and revised by Marianne Pfau.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 13\u20112 shows a different type of monophony, one in which chords may be implied. It uses [pb_glossary id=\"1761\"]compound melody[\/pb_glossary], where more than one line is implied in the seemingly monophonic texture. Example 13\u20113 provides a reduction of the implied chords from the compound melody structure of the excerpt.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 13\u20112. Monophony with compound melody: J. S. Bach, Cello Suite in G Major, Minuet 2, mm. 1\u20134<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image65.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image65.png\" width=\"1315\" height=\"226\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-12.2.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Yo-Yo Ma, on <a href=\"https:\/\/open.spotify.com\/track\/4JXQV1LS3lw09MwCFFASso?si=213edc3231964eab\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Johann Sebastian Bach<\/strong> (1685\u20131750) by reading this <a class=\"rId164\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278195\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christoph Wolff and Walter Emery.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 13\u20113. Bach excerpt with analysis of implied chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image66.png\" width=\"1354\" height=\"355\" alt=\"image of score with analysis\" class=\"alignnone\" \/><span style=\"background-color: #ffff00\"><\/span><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.3.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Homorhythmic textures\"><\/a>Homorhythmic textures<\/h1>\r\nRecognizing chords in [pb_glossary id=\"1762\"]homorhythmic[\/pb_glossary] textures is fairly straightforward. Since all parts move in the same rhythm in homorhythmic textures, chords are aligned vertically. Example 13\u20114 shows a chorale-style texture that is mostly homorhythmic. Notice how all of the syllables align, even with a few surface differences in rhythm. Example 13\u20115 shows a blocked-chord texture that is fully homorhythmic.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 13\u20114. Chorale style, mostly homorhythmic texture: J. S. Bach, \u201cJesu, Meine Freude,\u201d mm. 1\u20136<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image67.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image67.png\" width=\"822\" height=\"299\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-12.4.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by the Monteverdi Choir, conducted by John Eliot Gardiner, on <a href=\"https:\/\/open.spotify.com\/track\/4cL16RNMk6lwJzfDJjStTx?si=5d6f165dd52944a5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nRead an <a href=\"https:\/\/www.bach-cantatas.com\/Texts\/BWV227-Eng3P.htm\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the song text on the Bach Cantatas <a href=\"https:\/\/www.bach-cantatas.com\/\" target=\"_blank\" rel=\"noopener\">website<\/a>.\r\n\r\nLearn about German composer <strong>Johann Sebastian Bach<\/strong> (1685\u20131750) by reading this <a class=\"rId164\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278195\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christoph Wolff and Walter Emery.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 13\u20115. Blocked-chord homorhythmic texture: Franz Schubert, <em>Six moments musicaux<\/em>, op. 94, no. 2, mm. 1\u20135<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image68.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image68.png\" width=\"716\" height=\"188\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.5.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Alfred Brendel, on <a href=\"https:\/\/open.spotify.com\/track\/5L7wLEzstH1U2aC8sAVvO9?si=cec986e698734aad\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId168\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Homophonic textures\"><\/a>Homophonic textures<\/h1>\r\n<p class=\"import-Normal\">[pb_glossary id=\"1767\"]Homophonic[\/pb_glossary] textures feature accompanied melody. Homophonic textures can be homorhythmic (where the melody and accompaniment share the same rhythm), but they can also involve an accompaniment with a rhythmic structure different from that of the melody. Consequently, there are many different ways to realize homophonic texture.<\/p>\r\n<p class=\"import-Normal\">When notes of a chord are played in succession rather than simultaneously, we say that the chord is [pb_glossary id=\"1780\"]arpeggiated[\/pb_glossary]. Arpeggiation is a common technique found in accompaniments. [pb_glossary id=\"1781\"]Alberti bass[\/pb_glossary] is a special type of arpeggiated pattern that is used in many Classical compositions. Example 13\u20116 shows an excerpt that uses an Alberti bass pattern as an accompanimental texture. Here, the melody is presented in the right-hand part, and the Alberti bass appears in the left hand, where each chord is iterated in the following pattern: lowest note \u2013 highest note \u2013 middle note \u2013 highest note. Example 13\u20117 shows an excerpt that uses arpeggiation, but not Alberti bass, in the left hand to accompany a melody played in the right hand.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 13\u20116. Homophonic texture with Alberti bass: W. A. Mozart, K. 332, mvt. 2, mm. 1\u20136<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image69.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image69.png\" width=\"1428\" height=\"532\" alt=\"image of musical score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.6.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Maria Jo\u00e3o Pires, on <a href=\"https:\/\/open.spotify.com\/track\/0ftAOThcYwpSDapJhDOy7o?si=30afac361030499a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId165\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 13\u20117. Homophonic texture with arpeggiation: Frederic Chopin, Nocturne no. 7 in C-sharp minor, op. 27, no. 1, mm. 1\u20138<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image70.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image70.png\" width=\"732\" height=\"342\" alt=\"image\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.7.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Daniel Barenboim, on <a href=\"https:\/\/open.spotify.com\/track\/318zouXhAE3SUqxoEL4e9V?si=b14d4066588b4bc3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131849) by reading this <a class=\"rId166\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jim Samson.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Another textural possibility includes an \u201coom-pah\u201d texture (shown in Example 13\u20118), which alternates a bass note with a chord voiced in a higher register.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 13\u20118. Homophonic \u201coom-pah\u201d texture: Franz Schubert, \u201cAuf dem Flusse,\u201d mm. 1\u201310<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image71.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image71.png\" width=\"743\" height=\"397\" alt=\"image of musical score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.8.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Dietrich Fischer-Dieskau and Gerald Moore, on <a href=\"https:\/\/open.spotify.com\/track\/2IJv4eHjhda8VAdU5ZpWPM?si=84bfcdd436ea485d\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nRead an\u00a0<a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=11818\" target=\"_blank\" rel=\"noopener\">English translation<\/a>\u00a0of the song text on <a href=\"http:\/\/lieder.net\" target=\"_blank\" rel=\"noopener\">lieder.net<\/a>.\r\n\r\nLearn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId168\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Heterophony\"><\/a>Heterophony<\/h1>\r\n<p class=\"import-Normal\">[pb_glossary id=\"1795\"]Heterophonic[\/pb_glossary] textures involve all or most parts playing the same melody but embellished or varied in different ways simultaneously. Listen to a performance of the southeastern Chinese piece \u201cHan Gong Qiu Yue\u201d in Example 13\u20119, which features a heterophonic texture.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 13\u20119. Heterophonic texture in Chen Zhong performing \u201cHan Gong Qiu Yue\u201d (Autumn Moon at the Han Palace)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nListen to this example, performed by Chen Zhong, on <a href=\"https:\/\/open.spotify.com\/track\/44FF61BpZt9mEHprhYAtL3?si=d1e5aaa561674a00\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about <strong>\u201cHan Gong Qiu Yue\u201d (Autumn Moon over Han Palace)<\/strong> by reading this <a class=\"rId169\" href=\"http:\/\/en.chinaculture.org\/classics\/2010-11\/22\/content_399845_10.htm\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">article<\/span><\/a> at ChinaCulture.org.\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Polyphony\"><\/a>Polyphony<\/h1>\r\n<p class=\"import-Normal\">[pb_glossary id=\"1798\"]Polyphonic[\/pb_glossary] textures employ more than one independent part. In polyphonic music, all parts are generally equal in importance. The excerpt in Example 13\u201110 demonstrates a polyphonic texture. A common type of polyphonic procedure is [pb_glossary id=\"1799\"]imitation[\/pb_glossary], which presents the same melody in all voices with staggered entrances. [pb_glossary id=\"1800\"]Rounds[\/pb_glossary] (such as \u201cRow, Row, Row Your Boat\u201d), [pb_glossary id=\"1801\"]canons[\/pb_glossary], and [pb_glossary id=\"1802\"]fugues[\/pb_glossary] are imitative pieces.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 13\u201110. Polyphonic texture: Giovanni Pierluigi da Palestrina, <em>Pope Marcellus Mass<\/em>, Kyrie, mm. 1\u20137<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image72.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image72.png\" width=\"881\" height=\"364\" alt=\"image of musical score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.9.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by the Oxford Camerata, on <a href=\"https:\/\/open.spotify.com\/track\/6YuE6CpMpsnLGFdT9OGovm?si=a394dabf4ec34975\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nThe song text in this example translates in English to \"Lord, have mercy.\"\r\n\r\nLearn about Italian composer <strong>Giovanni <\/strong><strong>Pierluigi<\/strong><strong> da Palestrina<\/strong> (c. 1525\u20131594) by reading this <a class=\"rId170\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.20749\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Lewis Lockwood, Noel O\u2019Regan, and Jessie Ann Owens.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Sometimes it can be challenging to recognize chords within polyphonic textures, since the melodic (horizontal) aspect of each line is just as powerful as the harmonic (vertical) aspect of the lines as they sound simultaneously. Melodic lines often use [pb_glossary id=\"2863\"]non-chord tones[\/pb_glossary] for embellishment and to achieve stepwise motion, which can make analysis difficult as well. The same difficulty can arise in the analysis of monophonic music with compound melody.<\/p>\r\n\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T31 Intro to texture (14:41)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/xW4sF4thGF8[\/embed]\r\n<p class=\"import-Normal\">This lecture video presents four different texture types\u2014monophonic, homorhythmic, homophonic, and polyphonic\u2014as well as examples of each ranging from the Medieval era to the Romantic era.<\/p>\r\n\r\n<div class=\"textbox shaded\">Listen to the audio examples and more featured in this video here: <a class=\"rId171\" href=\"https:\/\/open.spotify.com\/playlist\/2b0X4Q58NsSNFJZB5eHyuT?si=3152da70c94e4b9e\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for chords in various textures<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 13-1 Analysis with figured bass in various textures\"><\/a>EXERCISE 13-1 Analysis with figured bass in various textures<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 13-1 Analysis with figured bass in various textures<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Listen to and study each excerpt. Identify the texture type that best describes each one. For each of the chords, provide an appropriate lead sheet symbol above the staff. Beneath the staff, provide the root, quality, bass note, and figured bass symbol. The first is done for you.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 13\u20111. W. A. Mozart, Piano Sonata in C major, K. 545, mvt. 1, mm. 1\u20135<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[h5p id=\"48\"]\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image73.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image73.png\" width=\"1417\" height=\"670\" alt=\"image of score with blanks above staff for chord symbol labels and blanks beneath staff for root, quality, bass, and figured bass symbols\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.1.mp3\"][\/audio]\r\n\r\nLearn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId165\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 13\u20112. Franz Schubert, <em>Six moments musicaux<\/em>, op. 94, no. 6, mm. 106\u2013115<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[h5p id=\"49\"]\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image74.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image74.png\" width=\"1429\" height=\"577\" alt=\"image of score with blanks above staff for chord symbol labels and blanks beneath staff for root, quality, bass, and figured bass symbols\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.2.mp3\"][\/audio]\r\n\r\nLearn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId168\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.\r\n\r\n<\/div>\r\n<\/div>\r\nFor Worksheet example 13\u20113, focus primarily on the left-hand part to determine the chords, since the right hand features some non-chord tones. In all excerpts, remember that the <em>lowest<\/em> note of a chord\u2014not necessarily its <em>first<\/em> note\u2014determines the inversion and appropriate figured bass symbol.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 13\u20113. Frederic Chopin, Waltz in F minor, op. 70, no. 2, mm. 1\u20136<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[h5p id=\"50\"]\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image75.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image75.png\" width=\"1430\" height=\"586\" alt=\"image of score with blanks above staff for chord symbol labels and blanks beneath staff for root, quality, bass, and figured bass symbols\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.3.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Cyprien Katsaris, on <a href=\"https:\/\/open.spotify.com\/track\/5nV7xm6Al22XsBht2j3MUo?si=d10cef83e9754123\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131849) by reading this <a class=\"rId166\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jim Samson.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><span>Worksheet example 13-4 features chromatic alterations to the chords presented within a tonal context, so add modifications to the figured bass symbols where appropriate.<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 13\u20114. Elisabeth Jacquet de La Guerre, Harpsichord Suite no. 2 in G minor, Courante, mm. 9\u201311[footnote]<span id=\"output\" class=\"outputbox\"><a href=\"https:\/\/s9.imslp.org\/files\/imglnks\/usimg\/3\/31\/IMSLP18522-LaGuerre_PiecesDeClavecin_Complete.pdf\" target=\"_blank\" rel=\"noopener\">\"Pi\u00e8ces de clavecin, Livre 1 (Jacquet de La Guerre, Elisabeth)\"<\/a> by <a href=\"https:\/\/imslp.org\/wiki\/Category:Wiberg,_Steve\" target=\"_blank\" rel=\"noopener\">Steve Wiberg<\/a><a><\/a><a><\/a> is licensed under <a href=\"http:\/\/creativecommons.org\/licenses\/by-nc-sa\/3.0\" target=\"_blank\" rel=\"noopener\">CC BY-NC-SA 3.0<\/a><a><\/a><\/span>[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[h5p id=\"51\"]\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image76.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image76.png\" width=\"1432\" height=\"626\" alt=\"image of score with blanks above staff for chord symbol labels and blanks beneath staff for root, quality, bass, and figured bass symbols\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.4-1.mp3\"][\/audio]\r\n\r\nLearn about French harpsichordist and composer <strong>Elisabeth <\/strong><strong>Jacquet<\/strong><strong> de La Guerre<\/strong> (1665\u20131729) by reading this <a class=\"rId167\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.14084\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Catherine Cessac.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex13.1-Analysis-with-figured-bass.pdf\" target=\"_blank\" rel=\"noopener\">Ex13.1 Analysis with figured bass<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to recordings of examples featured in this exercise here: <a href=\"https:\/\/open.spotify.com\/playlist\/7CkFr8daS311ceH7ZXlWU4?si=9aedb8a3e9c34e7f\" target=\"_blank\" rel=\"noopener\">Spotify playlist for figured bass analysis<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 13<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/texture\/\" target=\"_blank\" rel=\"noopener\">Samuel Brady and Mark Gotham's chapter on texture<\/a> (Open Music Theory)\r\n<p class=\"import-Normal\"><a class=\"rId172\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/AccompanimentalTexture.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson's chapter on texture<\/span><\/a><\/p>\r\n<a href=\"https:\/\/uen.pressbooks.pub\/auralskills\/chapter\/musical-texture\/\" target=\"_blank\" rel=\"noopener\">Danny Stevens's chapter on texture<\/a> (Foundations of Aural Skills)\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"texture\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 13<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>Some of the most common texture types in tonal music<\/li>\n<li>How to identify chords in various textures<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">In practice, chords can manifest in one of many different textures, and it is important to become adept at recognizing chords in any texture. The most common kinds of texture are outlined in Figure 13\u20111.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 13\u20111. Common types of texture<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Fig-13.1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Fig-13.1-1024x1012.png\" alt=\"chart listing the five primary types of texture: monophonic, homorhythmic, homophonic, hetereophonic, and polyphonic, with descriptions of each\" width=\"1024\" height=\"1012\" class=\"alignnone wp-image-3437 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Fig-13.1-1024x1012.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Fig-13.1-300x297.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Fig-13.1-768x759.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Fig-13.1-1536x1518.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Fig-13.1-65x64.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Fig-13.1-225x222.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Fig-13.1-350x346.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Fig-13.1.png 1973w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-13.1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 13.1<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a id=\"Monophony\"><\/a>Monophony<\/h1>\n<p><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_531_1751\">Monophonic<\/a> textures occur in music for solo, single-line instruments or voices, without accompaniment. Example 13\u20111 shows a typical monophonic texture found in a chant composed by Hildegard von Bingen, a Benedictine nun.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 13\u20111. Monophony: Hildegard von Bingen, \u201cO virgo ac diadema\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.1-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.1-rev-1024x267.png\" alt=\"image of score\" width=\"1024\" height=\"267\" class=\"alignnone wp-image-5649 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.1-rev-1024x267.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.1-rev-300x78.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.1-rev-768x200.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.1-rev-1536x401.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.1-rev-2048x535.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.1-rev-65x17.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.1-rev-225x59.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.1-rev-350x91.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-531-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-12.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-12.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-12.1.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Voices of Ascension, on <a href=\"https:\/\/open.spotify.com\/track\/25ZDTfjbGJZuiZhse2OOka?si=6b73ac7d4e034783\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Read an <a href=\"http:\/\/www.hildegard-society.org\/2014\/09\/o-virga-ac-diadema-sequence.html\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the song text on the <a href=\"http:\/\/www.hildegard-society.org\" target=\"_blank\" rel=\"noopener\">website<\/a> for the International Society of Hildegard von Bingen Studies.<\/p>\n<p>Learn about German Benedictine abbess, visionary, writer, and composer <strong>Hildegard von <\/strong><strong>Bingen<\/strong> (1098\u20131179) by reading this <a class=\"rId163\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.13016\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Ian D. Bent and revised by Marianne Pfau.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 13\u20112 shows a different type of monophony, one in which chords may be implied. It uses <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_531_1761\">compound melody<\/a>, where more than one line is implied in the seemingly monophonic texture. Example 13\u20113 provides a reduction of the implied chords from the compound melody structure of the excerpt.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 13\u20112. Monophony with compound melody: J. S. Bach, Cello Suite in G Major, Minuet 2, mm. 1\u20134<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image65.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image65.png\" width=\"1315\" height=\"226\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-531-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-12.2.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-12.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-12.2.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Yo-Yo Ma, on <a href=\"https:\/\/open.spotify.com\/track\/4JXQV1LS3lw09MwCFFASso?si=213edc3231964eab\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Johann Sebastian Bach<\/strong> (1685\u20131750) by reading this <a class=\"rId164\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278195\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christoph Wolff and Walter Emery.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 13\u20113. Bach excerpt with analysis of implied chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image66.png\" width=\"1354\" height=\"355\" alt=\"image of score with analysis\" class=\"alignnone\" \/><span style=\"background-color: #ffff00\"><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-531-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.3.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.3.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Homorhythmic textures<\/h1>\n<p>Recognizing chords in <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_531_1762\">homorhythmic<\/a> textures is fairly straightforward. Since all parts move in the same rhythm in homorhythmic textures, chords are aligned vertically. Example 13\u20114 shows a chorale-style texture that is mostly homorhythmic. Notice how all of the syllables align, even with a few surface differences in rhythm. Example 13\u20115 shows a blocked-chord texture that is fully homorhythmic.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 13\u20114. Chorale style, mostly homorhythmic texture: J. S. Bach, \u201cJesu, Meine Freude,\u201d mm. 1\u20136<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image67.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image67.png\" width=\"822\" height=\"299\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-531-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-12.4.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-12.4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-12.4.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by the Monteverdi Choir, conducted by John Eliot Gardiner, on <a href=\"https:\/\/open.spotify.com\/track\/4cL16RNMk6lwJzfDJjStTx?si=5d6f165dd52944a5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Read an <a href=\"https:\/\/www.bach-cantatas.com\/Texts\/BWV227-Eng3P.htm\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the song text on the Bach Cantatas <a href=\"https:\/\/www.bach-cantatas.com\/\" target=\"_blank\" rel=\"noopener\">website<\/a>.<\/p>\n<p>Learn about German composer <strong>Johann Sebastian Bach<\/strong> (1685\u20131750) by reading this <a class=\"rId164\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278195\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christoph Wolff and Walter Emery.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 13\u20115. Blocked-chord homorhythmic texture: Franz Schubert, <em>Six moments musicaux<\/em>, op. 94, no. 2, mm. 1\u20135<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image68.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image68.png\" width=\"716\" height=\"188\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-531-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.5.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.5.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.5.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Alfred Brendel, on <a href=\"https:\/\/open.spotify.com\/track\/5L7wLEzstH1U2aC8sAVvO9?si=cec986e698734aad\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId168\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Homophonic textures<\/h1>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_531_1767\">Homophonic<\/a> textures feature accompanied melody. Homophonic textures can be homorhythmic (where the melody and accompaniment share the same rhythm), but they can also involve an accompaniment with a rhythmic structure different from that of the melody. Consequently, there are many different ways to realize homophonic texture.<\/p>\n<p class=\"import-Normal\">When notes of a chord are played in succession rather than simultaneously, we say that the chord is <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_531_1780\">arpeggiated<\/a>. Arpeggiation is a common technique found in accompaniments. <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_531_1781\">Alberti bass<\/a> is a special type of arpeggiated pattern that is used in many Classical compositions. Example 13\u20116 shows an excerpt that uses an Alberti bass pattern as an accompanimental texture. Here, the melody is presented in the right-hand part, and the Alberti bass appears in the left hand, where each chord is iterated in the following pattern: lowest note \u2013 highest note \u2013 middle note \u2013 highest note. Example 13\u20117 shows an excerpt that uses arpeggiation, but not Alberti bass, in the left hand to accompany a melody played in the right hand.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 13\u20116. Homophonic texture with Alberti bass: W. A. Mozart, K. 332, mvt. 2, mm. 1\u20136<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image69.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image69.png\" width=\"1428\" height=\"532\" alt=\"image of musical score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-531-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.6.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.6.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.6.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Maria Jo\u00e3o Pires, on <a href=\"https:\/\/open.spotify.com\/track\/0ftAOThcYwpSDapJhDOy7o?si=30afac361030499a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId165\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 13\u20117. Homophonic texture with arpeggiation: Frederic Chopin, Nocturne no. 7 in C-sharp minor, op. 27, no. 1, mm. 1\u20138<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image70.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image70.png\" width=\"732\" height=\"342\" alt=\"image\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-531-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.7.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.7.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.7.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Daniel Barenboim, on <a href=\"https:\/\/open.spotify.com\/track\/318zouXhAE3SUqxoEL4e9V?si=b14d4066588b4bc3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131849) by reading this <a class=\"rId166\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jim Samson.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Another textural possibility includes an \u201coom-pah\u201d texture (shown in Example 13\u20118), which alternates a bass note with a chord voiced in a higher register.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 13\u20118. Homophonic \u201coom-pah\u201d texture: Franz Schubert, \u201cAuf dem Flusse,\u201d mm. 1\u201310<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image71.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image71.png\" width=\"743\" height=\"397\" alt=\"image of musical score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-531-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.8.mp3?_=8\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.8.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.8.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Dietrich Fischer-Dieskau and Gerald Moore, on <a href=\"https:\/\/open.spotify.com\/track\/2IJv4eHjhda8VAdU5ZpWPM?si=84bfcdd436ea485d\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Read an\u00a0<a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=11818\" target=\"_blank\" rel=\"noopener\">English translation<\/a>\u00a0of the song text on <a href=\"http:\/\/lieder.net\" target=\"_blank\" rel=\"noopener\">lieder.net<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId168\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.<\/p>\n<\/div>\n<\/div>\n<h1><a id=\"Heterophony\"><\/a>Heterophony<\/h1>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_531_1795\">Heterophonic<\/a> textures involve all or most parts playing the same melody but embellished or varied in different ways simultaneously. Listen to a performance of the southeastern Chinese piece \u201cHan Gong Qiu Yue\u201d in Example 13\u20119, which features a heterophonic texture.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 13\u20119. Heterophonic texture in Chen Zhong performing \u201cHan Gong Qiu Yue\u201d (Autumn Moon at the Han Palace)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Listen to this example, performed by Chen Zhong, on <a href=\"https:\/\/open.spotify.com\/track\/44FF61BpZt9mEHprhYAtL3?si=d1e5aaa561674a00\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about <strong>\u201cHan Gong Qiu Yue\u201d (Autumn Moon over Han Palace)<\/strong> by reading this <a class=\"rId169\" href=\"http:\/\/en.chinaculture.org\/classics\/2010-11\/22\/content_399845_10.htm\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">article<\/span><\/a> at ChinaCulture.org.<\/p>\n<\/div>\n<\/div>\n<h1><a id=\"Polyphony\"><\/a>Polyphony<\/h1>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_531_1798\">Polyphonic<\/a> textures employ more than one independent part. In polyphonic music, all parts are generally equal in importance. The excerpt in Example 13\u201110 demonstrates a polyphonic texture. A common type of polyphonic procedure is <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_531_1799\">imitation<\/a>, which presents the same melody in all voices with staggered entrances. <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_531_1800\">Rounds<\/a> (such as \u201cRow, Row, Row Your Boat\u201d), <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_531_1801\">canons<\/a>, and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_531_1802\">fugues<\/a> are imitative pieces.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 13\u201110. Polyphonic texture: Giovanni Pierluigi da Palestrina, <em>Pope Marcellus Mass<\/em>, Kyrie, mm. 1\u20137<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image72.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image72.png\" width=\"881\" height=\"364\" alt=\"image of musical score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-531-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.9.mp3?_=9\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.9.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-13.9.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by the Oxford Camerata, on <a href=\"https:\/\/open.spotify.com\/track\/6YuE6CpMpsnLGFdT9OGovm?si=a394dabf4ec34975\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>The song text in this example translates in English to &#8220;Lord, have mercy.&#8221;<\/p>\n<p>Learn about Italian composer <strong>Giovanni <\/strong><strong>Pierluigi<\/strong><strong> da Palestrina<\/strong> (c. 1525\u20131594) by reading this <a class=\"rId170\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.20749\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Lewis Lockwood, Noel O\u2019Regan, and Jessie Ann Owens.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Sometimes it can be challenging to recognize chords within polyphonic textures, since the melodic (horizontal) aspect of each line is just as powerful as the harmonic (vertical) aspect of the lines as they sound simultaneously. Melodic lines often use <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_531_2863\">non-chord tones<\/a> for embellishment and to achieve stepwise motion, which can make analysis difficult as well. The same difficulty can arise in the analysis of monophonic music with compound melody.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T31 Intro to texture (14:41)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T31 Intro to Texture\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/xW4sF4thGF8?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This lecture video presents four different texture types\u2014monophonic, homorhythmic, homophonic, and polyphonic\u2014as well as examples of each ranging from the Medieval era to the Romantic era.<\/p>\n<div class=\"textbox shaded\">Listen to the audio examples and more featured in this video here: <a class=\"rId171\" href=\"https:\/\/open.spotify.com\/playlist\/2b0X4Q58NsSNFJZB5eHyuT?si=3152da70c94e4b9e\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for chords in various textures<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 13-1 Analysis with figured bass in various textures<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 13-1 Analysis with figured bass in various textures<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Listen to and study each excerpt. Identify the texture type that best describes each one. For each of the chords, provide an appropriate lead sheet symbol above the staff. Beneath the staff, provide the root, quality, bass note, and figured bass symbol. The first is done for you.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 13\u20111. W. A. Mozart, Piano Sonata in C major, K. 545, mvt. 1, mm. 1\u20135<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<div id=\"h5p-48\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-48\" class=\"h5p-iframe\" data-content-id=\"48\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 13.1 Quiz on texture types\"><\/iframe><\/div>\n<\/div>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image73.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image73.png\" width=\"1417\" height=\"670\" alt=\"image of score with blanks above staff for chord symbol labels and blanks beneath staff for root, quality, bass, and figured bass symbols\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-531-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.1.mp3?_=10\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.1.mp3<\/a><\/audio><\/p>\n<p>Learn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId165\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 13\u20112. Franz Schubert, <em>Six moments musicaux<\/em>, op. 94, no. 6, mm. 106\u2013115<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<div id=\"h5p-49\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-49\" class=\"h5p-iframe\" data-content-id=\"49\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 13.2 Quiz on texture types\"><\/iframe><\/div>\n<\/div>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image74.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image74.png\" width=\"1429\" height=\"577\" alt=\"image of score with blanks above staff for chord symbol labels and blanks beneath staff for root, quality, bass, and figured bass symbols\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-531-11\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.2.mp3?_=11\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.2.mp3<\/a><\/audio><\/p>\n<p>Learn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId168\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.<\/p>\n<\/div>\n<\/div>\n<p>For Worksheet example 13\u20113, focus primarily on the left-hand part to determine the chords, since the right hand features some non-chord tones. In all excerpts, remember that the <em>lowest<\/em> note of a chord\u2014not necessarily its <em>first<\/em> note\u2014determines the inversion and appropriate figured bass symbol.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 13\u20113. Frederic Chopin, Waltz in F minor, op. 70, no. 2, mm. 1\u20136<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<div id=\"h5p-50\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-50\" class=\"h5p-iframe\" data-content-id=\"50\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 13.3 Quiz on texture types\"><\/iframe><\/div>\n<\/div>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image75.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image75.png\" width=\"1430\" height=\"586\" alt=\"image of score with blanks above staff for chord symbol labels and blanks beneath staff for root, quality, bass, and figured bass symbols\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-531-12\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.3.mp3?_=12\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.3.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Cyprien Katsaris, on <a href=\"https:\/\/open.spotify.com\/track\/5nV7xm6Al22XsBht2j3MUo?si=d10cef83e9754123\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131849) by reading this <a class=\"rId166\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jim Samson.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><span>Worksheet example 13-4 features chromatic alterations to the chords presented within a tonal context, so add modifications to the figured bass symbols where appropriate.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 13\u20114. Elisabeth Jacquet de La Guerre, Harpsichord Suite no. 2 in G minor, Courante, mm. 9\u201311<a class=\"footnote\" title=\"&quot;Pi\u00e8ces de clavecin, Livre 1 (Jacquet de La Guerre, Elisabeth)&quot; by Steve Wiberg is licensed under CC BY-NC-SA 3.0\" id=\"return-footnote-531-1\" href=\"#footnote-531-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<div id=\"h5p-51\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-51\" class=\"h5p-iframe\" data-content-id=\"51\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 13.4 Quiz on texture types\"><\/iframe><\/div>\n<\/div>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image76.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image76.png\" width=\"1432\" height=\"626\" alt=\"image of score with blanks above staff for chord symbol labels and blanks beneath staff for root, quality, bass, and figured bass symbols\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-531-13\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.4-1.mp3?_=13\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.4-1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-13.4-1.mp3<\/a><\/audio><\/p>\n<p>Learn about French harpsichordist and composer <strong>Elisabeth <\/strong><strong>Jacquet<\/strong><strong> de La Guerre<\/strong> (1665\u20131729) by reading this <a class=\"rId167\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.14084\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Catherine Cessac.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex13.1-Analysis-with-figured-bass.pdf\" target=\"_blank\" rel=\"noopener\">Ex13.1 Analysis with figured bass<\/a><\/div>\n<div class=\"textbox shaded\">Listen to recordings of examples featured in this exercise here: <a href=\"https:\/\/open.spotify.com\/playlist\/7CkFr8daS311ceH7ZXlWU4?si=9aedb8a3e9c34e7f\" target=\"_blank\" rel=\"noopener\">Spotify playlist for figured bass analysis<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 13<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/texture\/\" target=\"_blank\" rel=\"noopener\">Samuel Brady and Mark Gotham&#8217;s chapter on texture<\/a> (Open Music Theory)<\/p>\n<p class=\"import-Normal\"><a class=\"rId172\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/AccompanimentalTexture.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson&#8217;s chapter on texture<\/span><\/a><\/p>\n<p><a href=\"https:\/\/uen.pressbooks.pub\/auralskills\/chapter\/musical-texture\/\" target=\"_blank\" rel=\"noopener\">Danny Stevens&#8217;s chapter on texture<\/a> (Foundations of Aural Skills)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-531-1\"><span id=\"output\" class=\"outputbox\"><a href=\"https:\/\/s9.imslp.org\/files\/imglnks\/usimg\/3\/31\/IMSLP18522-LaGuerre_PiecesDeClavecin_Complete.pdf\" target=\"_blank\" rel=\"noopener\">\"Pi\u00e8ces de clavecin, Livre 1 (Jacquet de La Guerre, Elisabeth)\"<\/a> by <a href=\"https:\/\/imslp.org\/wiki\/Category:Wiberg,_Steve\" target=\"_blank\" rel=\"noopener\">Steve Wiberg<\/a><a><\/a><a><\/a> is licensed under <a href=\"http:\/\/creativecommons.org\/licenses\/by-nc-sa\/3.0\" target=\"_blank\" rel=\"noopener\">CC BY-NC-SA 3.0<\/a><a><\/a><\/span> <a href=\"#return-footnote-531-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><\/ol><\/div><div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_531_1751\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_531_1751\"><div tabindex=\"-1\"><p>texture consisting of a single melody (no accompaniment)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_531_1761\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_531_1761\"><div tabindex=\"-1\"><p>single-line (monophonic) melody that implies more than one voice, usually through wide leaps<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_531_1762\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_531_1762\"><div tabindex=\"-1\"><p>a type of texture where all parts use the same rhythm, or mostly the same rhythm<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_531_1767\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_531_1767\"><div tabindex=\"-1\"><p>textures that feature a melody with an accompaniment<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_531_1780\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_531_1780\"><div tabindex=\"-1\"><p>chords played one note at a time<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_531_1781\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_531_1781\"><div tabindex=\"-1\"><p>special type of arpeggiated accompaniment where each chord is iterated in the following pattern: lowest note \u2013 highest note \u2013 middle note \u2013 highest note; used in European classical music<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_531_1795\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_531_1795\"><div tabindex=\"-1\"><p>textures that feature all or most parts playing the same melody but embellished or varied simultaneously<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_531_1798\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_531_1798\"><div tabindex=\"-1\"><p>textures that feature two or more independent parts, all generally equal in importance<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_531_1799\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_531_1799\"><div tabindex=\"-1\"><p>textural device in which parts play the same melody with staggered entrances<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_531_1800\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_531_1800\"><div tabindex=\"-1\"><p>imitative song in which the melody may be sung by more than one person with regularly staggered entrances to create harmony<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_531_1801\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_531_1801\"><div tabindex=\"-1\"><p>imitative piece with two or more parts that uses the melody of the leading part in one or more successive following parts<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_531_1802\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_531_1802\"><div tabindex=\"-1\"><p>compositional process using short musical subjects, alternating sections using strict imitation and episodic sections in free counterpoint<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_531_2863\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_531_2863\"><div tabindex=\"-1\"><p>notes that do not belong in a given chord; for example, D would be a non-chord tone in relationship to a C major triad<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":13,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-531","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/531","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":94,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/531\/revisions"}],"predecessor-version":[{"id":7030,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/531\/revisions\/7030"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/531\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=531"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=531"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=531"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=531"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}