Texture

Texture, like rhythm, can be difficult to untangle from other fundamental
parts of music. Unlike rhythm, melody or harmony, however, texture is
really a combination of fundamental parts. A piece of polyphony (several
melodies played together), such as a fugue, is probably going to have a
complex texture; a melody accompanied by simple harmonies is probably
going to have a simple, spare texture. Complex textures can also result
from intricate rhythms and elaborate orchestration (see sound and color).

For the majority of the standard classical repertory, texture is rarely even
considered as a "fundamental" part of the music. Yet, texture is one of the
tools that composers can use to create atmosphere, provide needed
contrast, and build emotional power. Listening for texture is especially
important in appreciating much contemporary music. For many modern
composers texture is as important as melody or harmony was to masters
of the past.

To start with, however, we will go back a millennium in music history and
consider some Gregorian Chant. The beauty of chant is usually attributed
to its undulating and serene melodic curves. But, the simplicity of the
texture adds to the serenity and other-worldliness of the music. The
texture here is as simple as possible: one melody, without any
accompaniment (termed monophonic music).
 

          Vienna Hofburgkapelle Choir: Gregorian Chant
          (MPEG-2, Filesize: 121K)
 

Perhaps the greatest breakthrough in all of music history was when
composers started combining melodies, and writing polyphony. Although
we can appreciate the ultra-spare and simple texture of chant, it was
polyphony that made texture an important musical element.

The following example is from the Requiem Mass by Giovanni di
Palestrina, one of the greatest composers of the late Renaissance. Listen
for the way the singers' lines intertwine, gliding around each other.
Although the polyphony of Palestrina and other Renaissance masters is
quite complex, this music maintains a serenity and clarity that is not far
removed from the character and atmosphere of chant.
 

          Giovanni di Palestrina: Requiem Mass
          (MPEG-2, Filesize: 120K)
 

Jumping ahead several centuries, we can hear texture playing an
increasingly important role in music. The next example is from a Prelude in
G Major for piano by Chopin. This piece is made up of two elements: the
theme (played by the right hand) and the accompaniment (played by the
left hand). What is remarkable about this music is the intricacy of the
accompaniment. This unusual flurry of notes creates a wonderfully
invigorating, frothy texture that is exhilarating as well as beautiful.
 

          Chopin: Prelude in G Major
          (MPEG-2, Filesize: 120K)
 

Moving into the contemporary period, and to a work by the neglected American
composer, Stefan Wolpe. Like much "modern" music, this music is not
typically melodic. One of the most delightful, and most easily appreciated
aspects of this excerpt from Wolpe's "Suite in Hexachord" is its playful
texture. Although there are rarely more than two instruments playing at
once, it is the bouncy, almost jazzy detail gives the music a strong
character.
 

          Wolpe: Suite in Hexachord
          (MPEG-2, Filesize: 120K)
 

The following questions may help you to identify and describe the texture
of a musical work. First of all, consider the basic texture: is it rich and
complex, or simple and clear? Do not be surprised if you find yourself
using what seems like contradictions in your descriptions. For example,
music can be simultaneously both intricate and clear (like the Wolpe
excerpt above). How does the texture change over the course of the
work? How does the composer use texture for musical contrast?