Answer:
Texture is one of the basic elements of music. When you describe the texture of a piece of music, you are describing the relationship of melodic and (sometimes) harmonic elements with each other. For example, the texture of the music might be thick or thin, or it may have many or few layers. It might be made up of rhythm only, or of a melody line with chordal accompaniment, or many interweaving melodies. Below you will find some of the formal terms musicians use to describe texture.
There are many informal terms that can describe the texture of a piece of music (thick, thin, bass-heavy, rhythmically complex, and so on), but the formal terms that are used to describe texture all describe the relationships of melodies and, if present, harmonies. Here are definitions and examples of the three main textures you will encounter in our class.
Monophonic
Monophonic music has only one melodic line, with no harmony or counterpoint. There may be rhythmic accompaniment, but only one line that has specific pitches.
Examples of Monophony
One person whistling a tune
A single bugle sounding “Taps”
A group of people all singing a single melody together without harmony or instrumental accompaniment
A fife and drum corp, with all the fifes playing the same melody
Polyphonic
Polyphonic music can also be called polyphony, counterpoint, or contrapuntal music. If more than one independent melody is occurring at the same time, the music is polyphonic.
Examples of Polyphony
Rounds, canons, and fugues are all polyphonic. (Even if there is only one melody, if different people are singing or playing it at different times, the parts sound independent.)
Much late Baroque music is contrapuntal, particularly the works of J.S. Bach.
Most music for large instrumental groups such as bands or orchestras is contrapuntal at least some of the time.
Music that is mostly homophonic can become temporarily polyphonic if an independent countermelody is added. Think of a favorite pop or gospel tune that, near the end, has the soloist “ad libbing” while the back-up singers repeat the refrain.
Homophonic
Homophonic music can also be called homophony. More informally, people who are describing homophonic music may mention chords, accompaniment, harmony or harmonies. Homophony has one clear melodic line; it’s the line that naturally draws your attention. All other parts provide accompaniment or fill in the chords. In most well-written homophony, the parts that are not melody may still have a lot of melodic interest. They may follow many of the rules of well-written counterpoint, and they can sound quite different from the melody and be interesting to listen to by themselves. But when they are sung or played with the melody, it is clear that they are not independent melodic parts, either because they have the same rhythm as the melody (i.e. are not independent) or because their main purpose is to fill in the chords or harmony (i.e. they are not really melodies).
Examples of Homophony
Choral music in which the parts have mostly the same rhythms at the same time is homophonic. Most traditional Protestant hymns and most “barbershop quartet” music is in this category.
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.
