Texture
Texture results from the way voices and/or instruments are combined in music.
Device |
Song |
Artist |
Time of Event |
Listen Now |
Album |
Publisher/Label |
Explicit Lyrics |
---|---|---|---|---|---|---|---|
Mono/Homo/Polyphonic | Farandole from the L’Arlesienne Suite No. 2 |
Bizet |
One of the BEST PIECES EVER WRITTEN to show textural changes! This piece changes between these three textural styles many times and the changes are quite easy to hear. |
N |
|||
Hallelujah Chorus Submitted |
Handel |
This amazing piece of music changes between mono/homo/polyphonic texture at various times. Listen for monophonic texture at “for the lord God omnipotent reigneth” (0:39), homophony during the “Hallelujah” exclamations (0:45) and polyphony when the male vocalists sing a different melody to the female vocalists (1:02) |
N |
||||
Monophonic | Australian National Anthem |
Whether it’s a solo singer or 50,000 fans at a footy match. One melodic line means monophonic texture. |
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Your House |
Alanis Morissett |
Throughout |
Jagged Little Pill (Hidden Track) |
Maverick/Reprise |
N |
||
The Last Post |
Throughout |
N |
|||||
Mercedes Benz |
Janis Joplin |
Throughout |
Pearl |
Columbia |
N |
||
Amazing Grace |
Hymn |
Throughout |
N |
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Beautiful (a capella version) |
Christina Aguilera |
Throughout |
Unknown |
Unknown |
N |
||
Meet Me In The Middle Of The Air |
Paul Kelly |
First Verse – After the first verse, accompanying voices are introduced, creating homophonic texture |
Unknown |
Unknown |
N |
||
Prelude to L’Arlesienne |
Bizet |
The first 45-50 seconds is entirely monophonic texture |
N |
||||
Agnus Dei |
Verdi |
Two solo voices in unison, followed by a four-part choir and harmony |
N |
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The People That Walked In Darkness from ‘Messiah’ |
Handel |
Some long sections in this piece, the strings and harpsichord are playing the same melodic line as the voice. |
N |
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Homophonic | In The Still Of The Night |
Boys II Men |
Throughout. Many hear this a capella style and assume it’s polyphonic texture. |
Cooleyhighharmony |
Motown |
N |
|
Baby On Board |
Homer’s Babershop Quartet |
Throughout. Many hear this a capella style and assume it’s polyphonic texture. |
Episode 82 |
Season 5 |
N |
||
Polyphonic Texture/Counterpoint | Feeling This |
Blink-182 |
Last few seconds of song. Not the best example, but several different melodies heard without accompaniment |
Blink-182 |
Geffen |
Y |
|
Faust |
The Human Abstract |
3:15 – A contrapuntal exchange between the guitars |
Digital Veil |
E1 |
N |
||
Empty Walls Submitted |
Serj Tankian |
The countermelodies performed by the voices in the outro create a polyphonic aspect to this texture. It is important to note however, that this is sung over the top of a chordal accompaniment. |
Elect the Dead |
Serjical Strike/Reprise |
N |
||
Heterophonic | Lonesome Valley from ‘O Brother, Where Art Thou’ soundtrack |
The Fairfield Four |
There are heterophonic passages in this piece at times, where each of the voices sing a slight variation on the main melody |
‘O Brother, Where Art Thou’ soundtrack |
Lost Highway / Mercury |
N |
|
Contrary Motion | Crying In The Chapel |
The Orioles (Artie Glenn) |
At the start of the 2nd verse you can hear the bass playing a descending line underneath the ascending vocal |
Unknown |
Unknown |
N |
|
Oblique Motion | I Feel Love |
Donna Summer |
Any melody accompanied by a drone, will create oblique motion, but it is heard clearly in this awesome 70’s example! |
I Remember Yesterday |
Casablanca |
N |
|
Parallel Motion | The Morrow from ‘Gattaca’ |
Michael Nyman |
The cellos play in parallel 5ths and shift up and down a major 2nd. An amazing piece of music! |
Gattaca Soundtrack |
Virgin Records America |
N |
|
Road To Perdition main theme |
Thomas Newman |
In this short section, the lower strings move in easy to hear parallel motion, an octave apart. |
Road To Perdition Soundtrack |
Unknown |
N |
||
Sandstorm |
Darude |
Parallel triads are played throughout on the synthesizer. Heard easiest during intro. |
Before The Storm |
16 Inch |
N |
||
In Bloom |
Nirvana |
Main riff moves in parallel fifths. For first two vocal phrases, voice and bass also move in parallel fifths. |
Nevermind |
GDC |
N |
||
Doubling of melody | If You Seek Amy |
Britney Spears |
Electronic melody doubles main melody during intro |
Circus |
Jive |
N but questionable content |
|
I Want To Be Left To My Own Devices Submitted |
Unknown Mortal Orchestra |
After first verse and chorus guitar doubles vocal melody |
Unknown |
Fat Possum Records |
N |
||
Riff | Back In Black |
AC/DC |
Ooooh Yeeeeeeah. |
Back in Black |
Albert – Atlantic |
N |
|
Enter Sandman |
Metallica |
Rock on. |
Metallica |
Elektra |
N |
||
Smoke On The Water |
Deep Purple |
Yea-ah!!!! |
Machinehead |
EMI / Warner Bros |
N |
||
Smells Like Teen Spirit |
Nirvana |
Anger and angst all rolled into one. |
Nevermind |
DGC |
N |
||
Sweet Child O’ Mine |
Guns N’ Roses |
Bi-di-di-di-di-di-di-di, Bi-di-di-di-di-di-di-di etc. etc |
Appetite For Destruction |
Geffen |
N |
||
Walk This Way |
Aerosmith |
Wigada Wigada! |
Toys In The Attic |
Columbia |
N |
||
Sunshine Of Your Love |
Cream |
Do-do-do-do-do-do-do-do-dooo-do |
Disraeli Gears |
Atco |
N |
||
Start Me Up |
Rolling Stones |
A man has never looked so good in purple! |
Tattoo You |
Rolling Stones |
N |
||
Thin building to thick | Welcome to the Black Parade |
My Chemical Romance |
Texture builds from solo piano over length of the first verse |
The Black Parade |
Reprise |
N |
|
Wayfaring Stranger Submitted |
Ed Sheeran |
A great example of adding extra layers through the use of a looping device |
Unknown |
Unknown |
N |
||
Changes in texture | Chop Suey Submitted |
System of a Down |
Texture is varied through the addition or subtraction of layers, as well as the introduction of effects on guitars |
Toxicity |
American |
N |