This page explores some of the different ways in which harmonic
progressions can be realized in different textures.
Four common textures are used as models:
Single line melody, moving bass.
This texture is very commmon in piano music and in a guitar
accompaniment to voice.
The bass arpeggiates a chord, while the upper voice holds a slower
melody.
This example is taken from the second movement of Clementi's Sonatina in C
(Coursepack p.164)
2-part.
This texture is commmon in duets between two instruments, and in
some styles of keyboard music
Both voices play equal roles in realizing the harmonic progressions and
are generally of equal prominence in the music.
This example is taken from the second Horn Duet by Mozart (Coursepack p.207)
Moving treble, slower bass.
This texture is commmon in accompanied pieces for treble instruments
such as the violin or flute. It is also often found in keyboard music.
The bass sustains chords, while the upper voice moves quickly between
the notes of that chord, often using non-chord tones.
This example is taken from the Trio of Haydn's Sonata in C
(Coursepack p.195)
>
Chordal bass, moving treble.
This texture is very commmon in piano music and in many styles of dance
muisc. It's often informally called an "oom-pah" bass.
The bass lays out a chord, playing the lowest note in a low octave with
the other notes grouped in a higher register. The treble voice meanwhile
has a slower but often a lively melody
This example is taken from Chopin's Mazurka Op.67
(Coursepack p.161)
