Hello and welcome to today's music lesson.

I'm Miss Mansel and I'm going to be your teacher for today.

Let's get started.

Today's lesson outcome is, I can analyze how a composition uses varied textures to create musical interest, variety and climax and can create some textural variety in my own composition.

Let's look at some keywords for today's lesson.

Texture.

The number of different musical lines playing at the same time and the way that they relate to each other.

Melody and accompaniment.

A texture consisting of a clear melody and separate accompaniment.

Polyphonic.

A texture where more than one equally important melodic line plays at the same time.

Homophonic.

A texture where different musical lines use the same rhythm.

Today's lesson on developing texture is in two parts.

Part one is analyzing texture in a composition and part two is creating textural variety in your own composition.

Let's get started with part one.

Developing texture is key to creating a balanced composition with a satisfying musical journey.

In different styles and genres, composers create textual variety in different ways.

Let's explore texture in an orchestral composition for a film.

Listen to the whole composition.

Can you identify some of the ways that this composer has created variety in the texture of the different sections?

Remember, texture is not just how many musical lines are playing, but also how they relate to each other.

Have a listen to the composition.

In the opening section, the string section uses similar rhythms to create a chordal homophonic texture.

This is not a particularly complex texture, but can be very effective for establishing mood and atmosphere.

You can have a listen to that opening section.

How does the texture develop in the next section?

Have a listen.

There is more of a melody and accompaniment texture here, with different rhythms and patterns in the melody and the separate accompaniment.

The texture also thickens during this section as more instruments join in, creating a build up.

This is paired with pitch and dynamic increases to create a dramatic moment of climax.

Following the climax, how does the next section create texture or variety?

Have a listen.

This starts with a thin melody and accompaniment texture that thickens slightly as more parts join in.

This kind of clear melody and accompaniment is very useful for introducing or highlighting main melodic ideas.

In this case, this is the first time that we hear the main melody in its entirety.

How would you describe the texture in the next section?

Have a listen.

This also uses a melody in accompaniment texture that is thicker than the previous one.

The composer has carefully chosen the melodic instrument and the accompanying instruments, making sure that the melody is still audible and clear above the thick orchestral texture.

The texture in the next section contrasts with the others.

How would you describe it?

And what effect does it have on the mood?

Have a listen to that section.

This section uses the same melody, but creates a complex polyphonic texture.

There are multiple different interweaving melodic lines playing at the same time.

This creates a busy and contrasting mood.

This texture is effective for developing melodic ideas and creating contrast with other sections.

When composing for a large ensemble it can be an effective way of creating a thin texture using a smaller group of instruments to contrast with the thicker orchestral textures.

The final section returns to a texture from earlier.

How does this help to create a satisfying ending?

Have a listen to the final section.

It uses a simpler texture with a separate melody and accompaniment.

This creates a satisfying ending because it reiterates the main melody and concludes it in a clear and decisive way.

When composing, think carefully about the texture at the start and end of the composition.

What kind of mood do you want to create at these points, and what texture is best suited to creating that mood?

In summary, this composition creates textural variety by starting with an atmospheric homophonic texture, using a thin melody and accompaniment texture to introduce the main melody.

Using thicker textures to build up to climaxes.

Using a polyphonic texture to develop the melody and add variety.

Ending with a thick melody and accompaniment texture that creates satisfying conclusion by reiterating the main melody and creating a dramatic resolution to the piece.

Let's do a check for understanding.

Which texture would be least effective for introducing listeners to the main melodic idea?

Is it A, homophonic, B, polyphonic, or C, melody and accompaniment?

Have a think.

I hope you put B, polyphonic.

That would be the least effective texture for introducing listeners to the main melodic idea.

This is because a polyphonic texture can be quite a complex interweaving of different melodic ideas, so it would be quite hard for listeners to pick out the main melodic idea if they hadn't heard it before.

Which texture is particularly effective for developing melodic ideas and creating contrast?

Is it A, homophonic, B, polyphonic or C, melody and accompaniment?

Have a think.

This time the answer is B, polyphonic.

So a polyphonic texture is particularly effective for developing melodic ideas and creating contrast.

Let's move on to task A.

Have a listen to the whole composition.

Write a paragraph identifying all of the different ways that the composer has created variety through the use of texture.

So have a listen to the whole composition and write your paragraph.

How did you get on?

You might have included these types of statements in your paragraph.

So you could have said it starts with an atmospheric homophonic texture.

It uses a thin melody and accompaniment texture to introduce the main melody.

Uses thicker textures to build up to climaxes.

Uses a polyphonic texture to develop the melody and add variety.

Ends with a thick melody and accompaniment texture that creates a satisfying conclusion by reiterating the main melody and creating a dramatic resolution to the piece.

I hope your answer looked a little bit like that.

Let's move on to part two of our lesson, creating textural variety in your own composition.

So the composition we've been listening to shows us how we can use texture to add variety to a composition and to create a satisfying musical journey.

For your composition consider the following.

What are the norms for using texture in the style or genre that you're writing in?

What texture or textures does your composition already use?

What mood does that texture create?

Would your composition benefit from some sections of thinner or thicker texture?

Would it benefit from creating a new homophonic texture?

Would using a polyphonic texture be helpful for developing your melodic ideas and creating contrast?

Does the texture create an effective start and end to the piece?

Not every composition needs to use lots of different types of texture.

The example we explored was particularly varied, but many compositions create most of their variety by using thicker and thinner versions of the same texture.

For example, in pop and rock styles, artists tend to use a consistent melody and accompaniment texture that develops by getting thicker and thinner in different sections.

Folk music often uses heterophonic textures where performers simultaneously play the same melody with slight differences, for example in ornamentation or rhythm.

In the Baroque period, the texture is often characterized by two or more independent melodic lines creating polyphonic textures.

What texture are most pop and rock styles based on?

Have a think.

I hope you've got melody in accompaniment.

Make sure you're familiar with the norms for using texture in your style so that you can use it idiomatically.

So let's do task B.

We want you to reflect on your composition.

Identify how you can develop the texture to add variety.

Consider using thicker and thinner textures and different types of texture for example polyphonic, homophonic, melody and accompaniment.

Make sure you consider the norms of the style you're composing in so that you use texture idiomatically.

Develop your composition, focusing on those steps to develop your texture.

So pause first the video now and go and work on your composition.

How did you get on?

Let's reflect on the changes you have made to your composition.

Use these questions to guide how you can further develop the texture.

Does your composition create some variety by using different textures?

Are there some sections with thicker textures and some with thinner?

Does the texture at the start and end create the mood that you want at those points?

Is the texture idiomatic for the style or genre that you are composing in?

Let's summarize today's lesson on developing texture.

Texture is a very important aspect to consider when composing.

If used carefully, it can help a composer to create a varied and interesting composition with simple musical ideas.

As a composer, using textures that are idiomatic for the style or genre is important.

Varying the thickness of the texture is a simple way to add variety.

Using a mixture of polyphonic, homophonic and melody and accompaniment textures is also effective.

Thanks for joining me for today's lesson.