Lesson video

Hello, welcome to today's lesson, which is entitled Exploring Texture and Timbre.

My name's Mr. Norris, I'm gonna be taking you through today as we look at some of the ways that we can explore texture and timbre in a slightly more sophisticated way in our composing.

So without further ado, let's get into it.

Our outcome for today's lesson is I can change texture and timbre to create contrast in repeated sections of music.

So look at really how we create some contrast and variety by the way we use texture and timbre.

Some keywords.

The accompaniment, this is the musical part or parts which provide the rhythmic and harmonic support for the melody.

Broken chord.

And the broken chord is when the notes of a chord are not all played at the same time.

And finally, Alberti bass.

And this is a typical broken chord accompaniment pattern of the classical period, so it's a type of broken chord pattern that was quite typical in this period.

Lesson today is looking at experimenting with accompaniments.

Developing texture in composition is an important consideration when we're thinking about creating interest for the listener.

We should consider having varied texture between different sections, but also when we repeat sections, that's a really good way of creating contrast and variety.

Texture can mean how many different parts there are in the music, but it also means what these parts are doing and how they interact with each other.

So it's not just as simple as how many parts there are.

It's really about how they're interacting and the relationship all the different parts have with each other.

One simple way to develop texture is to change the way the chords are played in the accompaniment.

Block chords are the simplest way of playing chords.

That's when we play all three notes or however many notes there are together at the same time, but there are other accompaniment patterns that capture different moods.

Do you recognise this well known pattern here? I'm gonna play it for, you've got some notation there.

Have you come across this before? (soft piano music) So that might seem familiar or it might be something you've never come across before, but that's a broken chord pattern that we call the Alberti bass.

And this is one of many different broken chord accompaniment patterns.

The notes of the chord are all still used, which means the harmony is unchanged.

If you look at the first bar there, you'll see it used as the notes C, G, and E or C, E, and G.

And those are the notes of a C chord.

So it's still based on that original C chord, but the notes are broken apart.

And in the second bar we've got the notes of a G chord, G, B, and D, and they're broken apart as well.

The change in the rhythm, and in some cases, the octave of the notes creates variations.

So although it's still playing the same fundamental chord, it's the same harmony.

The changes that we've created with the pattern of the notes and the rhythm has totally changes the character and creates some variation.

And the pattern that we have of notes in Alberti bass is a low note, then the high note, then the middle note, then the high note.

♪ Low, high, middle, high ♪ That's the general pattern for Alberti bass.

And we can see there that happens throughout this example.

One thing to note in this example is that the second bar uses an inversion of the G chord.

So we can see that B is the lowest note in bar two.

So in that example, this creates the effect of a code inversion because they're not played with G at the bottom, but it's still Alberti bass because in that inverted form we still have the lowest note B at the bottom, then the high note, then the middle note, then the high note.

♪ Low, high, middle, high ♪ That's the pattern we always have.

Broken chords are when the notes of a chord are not all played at the same time.

And as we've said, there are many different possible patterns.

Here are a few examples we're gonna look through here.

Let's have a look now at this first example.

I'll play it for you now.

(soft piano music) Let's have a look at the second one, this is quite different.

(soft piano music) And then finally, let's have a look at this third one.

(soft piano music) So we can see there that all three examples are based on the same two chords, C major in the first bar, G major in the second bar.

But the way those notes are arranged, the order of them and the rhythm of them and the octave that they're playing in is determined by the composer.

And those three different versions, although the harmony is the same, create quite different feelings and characters to each other.

The use of quavers in these examples adds rhythmic drive to the accompaniment as well.

So because we've got these faster notes, these quavers that are playing.

It gives it a sense of motion, a sense of movement.

If we just played a block chord and held it, it wouldn't have that same feeling of movement.

And particularly when you've just got one part accompanying a melody, having some rhythmic drive by using notes like quavers or faster rhythms is a really effective way of giving it some movement and some energy.

In each example, the rhythmic pattern repeats as the chords change.

So in the first example, if we have a look at that there we can see the same rhythm repeated for both chords.

And we can see the same in the second example.

The same rhythmic pattern is created even when the chords change.

And this is a really key point that when you're doing a broken chord pattern, you want to have a repetitive rhythm and a repetitive shape to the way you play each broken chord.

Let's check your understanding.

Which two alter a broken chord pattern? Changing the octaves of the note used, changing the octave of the notes used, varying the rhythm, or making it louder? I'll give you a few seconds.

And the best two answers here that we'll be changing the octave and varying the rhythm.

They're the ways that we actually change the broken chord pattern itself.

Obviously, we could change the dynamics, but that wouldn't fundamentally alter the broken chord pattern.

For task A, using your instrument or DAW or notation software, you're gonna extend the accompaniment pattern below by following a chord progression.

So let's just have a quick listen to this.

(soft piano music) So we've got that simple broken chord pattern there.

We can see it starts low with quavers and it goes up the octave, then it jumps back down at the end.

And you're gonna use that pattern with the chord sequence on the right hand side, which uses an A minor, G, D minor, and E minor chord to repeat it and create a rhythmic accompaniment.

Let's just have a listen to those four chords.

(soft piano music) So the first bar there has been done for you, and now you need to repeat that pattern in the other three bars.

Some success criteria are that each bar follows the same rhythmic pattern and shape.

So you're gonna use that same rhythm and the same shape that we've got in the first bar and repeat it in each other bar.

The notes in each bar change to follow the chord progression.

So make sure that you're changing the notes to fit the new notes of the chord.

And there's no more than an octave range between the highest and lowest notes in each pattern.

So you want the highest note to be an octave higher than the lowest notes.

So you can pause my video now and give this your best shot.

For the second part of this task, we're gonna have a look at the attempt at using broken chords with that chord sequence.

This is the task we were just completing, and I'd like you to comment on the musical success of this based on the success criteria.

So how well has this person managed to complete the task based on the success criteria? Let's have a watch of this now.

(soft piano music) I play it one more time.

Here we go.

(soft piano music) And while completing your answer, you can pause my video.

Let's review this one then.

We might say the rhythmic has been repeated accurately.

We can see that each bar uses the same rhythm and shape.

And remember that's a key principle of doing a broken chord accompaniment.

The chord notes are accurate in bar one, bar two, and bar four.

So all of those use the correct notes of the code.

However, bar three has not followed the notes for the D minor chord that was in the example.

And instead has copied the shape of the previous bar.

So this means then that that note there should be a D instead of a C, and it's actually there by changing it to a C has created an F chord, which is a totally different chord, so it's changed the harmony.

This doesn't work here as the D minor chord in bar three is in a different inversion to the previous chord.

So the cord shape is different.

So you have to make sure when you're doing this, you're adapting the shape of each pattern to fit the notes of the cord or the inversion that you are using.

Well done if you picked up on some of those comments there.

The second part of our lesson, looking at changing timbre and moving parts.

We can also use timbre to create contrast in musical material that returns.

This might involve changing which instrument or musical sound is playing a line.

It could also involve doubling the musical lines, which is where we have more than one instrument or sound playing the same line at the same time.

Although changing the timbre won't necessarily change the texture of a piece, it's another useful and effective way to create contrast and develop ideas.

So we might not necessarily need to develop the texture in a really complex way.

Often changing the Tamra can be quite effective way of creating that contrast that we're looking for.

There are two versions we're gonna listen to here.

I'd like you to listen to both and then identify what has changed in the second version.

Here we go, here's the first one.

(sombre music) And now the second version.

What's changed? (sombre music) So it's not particularly complex on this, but it's sometimes overlooked.

What's changed is that in the first version, the melody is in the violin part.

(sombre music) And in the second version, the melody is in the clarinet part.

So we can hear a real contrast there just by changing the melody, moving it from one instrument to another, it really changes the mood and the character and the feel of that clip of music there.

It's something that's a really easy and effective way to create contrast and variety in our composition.

Here's another example of how we can use timbre to develop material.

Have a look at that music on the right hand side there.

See if you can pick out what's changed this time.

(sombre music) So it sounds quite different, this one.

And the reason is because what we've done is we've moved the baseline from the left hand of the piano to the violin.

So we've swapped that baseline onto the violin.

Now you might hear that and think, well, the violin is not a base instrument, it can't play low pitch notes, and you're absolutely right about that.

So to accommodate it, this line is now two octaves higher.

And by moving this part up, it really changes how the harmony feels and how the texture feels because we've no longer got these low notes in the piano, they're now in the violin line.

Whenever we're choosing the timbre or we're moving musical ideas between parts, we've gotta consider a couple of things.

The first is, is the sound suitable for the effect I want to create? Does this suit the character and the mood? And will the sound of the timbre of that instrument actually work with that part? And secondly, what are the capabilities of the instrument? Can it actually play those notes? Will it sound unusual or strained on that instrument, or is it quite a natural part for that instrument to play? So sometimes we have to adapt parts to make them work for other instruments if we do move them between different instruments.

And sometimes, there'll be some moves, some changes that just won't work because of the limitations of an instrument.

Let's check your understanding.

What do we have to consider when moving a musical line onto a different instrument? Pause my video and see what you can come up with.

Okay, here are a couple things you might have said.

The capabilities of the new instrument, so does it need to be played in a different octave or register? Can it play the notes? Does it suit the instrument? And also the sound of the new instrument.

Does it have a timbre that's suitable for your musical idea? So though it might be playable, does it actually suit it and does it work effectively and musically on that instrument? Well done, if you've got either of those points.

For task B, you're gonna use timbre to create a developed version of the music below.

Or if you want another musical idea that you've already created.

I'm just gonna briefly play you this example here.

Let's have a listen before we look at this task in more detail.

(sombre music) So it's quite a short four bar pattern that you're gonna develop there.

Here are a few things you could do to develop the timbre of it.

You can move the musical lines into different parts, you can add other instruments to double some of the parts, or you could change octaves where necessary as well, and you'll need to consider that if you're moving it into other parts.

Remember, if you do decide to move a part into another instrument, make sure you're thinking about does this part suit this instrument? And does it match the capabilities of that instrument? Can that instrument actually play that part? And we can see there that we've got the melody in the flute, and then we've got the accompaniment split between the violin and the oboe, the violin playing those long sustained low notes of the chords, and then the oboe playing some extra notes from each chord with the rest of the start.

But, so you decide how you do it, experiment a little bit with timbre and see how you can develop this.

Let's move on to the next part of this task.

And for this, I'd like to have a look at this example.

How has the timbre changed from the original version and what choices has this composer made with register when swapping parts? So this is a developed version of what we were just looking at.

What have they done? And what have they had to think about in relation to registers? So the range and pitch octave of the instruments that are playing.

Let's have a listen and follow the music through as we listen.

(sombre music) I am playing for you one more time.

(sombre music) You can pause my video while you complete your answer.

Let's analyse this one then.

In this version the composer has swapped the violin and flute part.

So now the violin is playing the melody and the flute is playing those long sustain notes.

As the flute was given the violin part, it needed to be made higher by an octave because the flute cannot play notes as low as that.

So that's an important consideration there.

If we just copied the violin part into the flute, it wouldn't actually be playable on the instrument, that's one of those things we have to think about when we're moving parts.

The oboe part has stayed exactly the same, so those other two parts have just been swapped around it.

Well done if you picked up on those comments there.

Let's move on to the final part of today's lesson.

And here we're looking at texture and timbre in your musical ideas.

Consider a section of music in a composition you're working on at the moment.

What could you do to develop the texture and the timbre.

And pause my video just while you have a think.

Here are few suggestions of things you might like to do.

You could develop the accompaniment pattern, and this can involve using broken chords or an Alberta bass, which is a type of broken chord panel.

You could change the instrumentation in returning musical ideas by doubling parts, adding new parts, or simplifying parts.

So when an idea comes back when it repeats, it's often a nice idea to change the timbre or the texture.

And then you could also change the register of the parts.

This could be to suit the capabilities of instruments, but also to change the character of the music.

So you could put the melody up an octave.

You can move the chord pattern into a different instrument where it might have to go up or down an octave.

You could try switching parts and see what happens.

So there's lots of ways we can experiment with texture and timbre to create contrast without necessarily having to write new musical ideas.

Let's check your understanding.

Which two of the following will change the texture of your composition? Changing the instrument, adding new parts to the music, or developing the accompaniment part? I'll give you a few seconds.

And the two best answers here then are adding new parts and developing the accompaniment part.

Changing the instrument will change the timbre, but it won't really change the texture.

Whereas adding new parts and developing the accompaniment, they will change the texture, they will change the way that the different parts interact.

For task C, you're gonna develop the texture and timbre in a new or returning section of your composition.

So find a section where something returns.

I'm gonna develop the texture and timbre to create some variety while still using the original musical ideas.

Some success criteria.

You've played through your textural and timbral ideas and are happy with how they sound.

So remember, it's really important that we reflect when we're composing, that we listen back to things and see how they sound.

It's often something that people forget about, but if it doesn't sound how you want it to sound or if you're not happy with the sound of it, then change it, experiment, and keep adapting.

You've developed your accompaniment pattern by using interesting broken chord patterns.

You've developed your original material with changes in timbre.

The melody stands out from the accompaniment.

And you've also considered wider compositional choices, including some expressive elements such as tempo, dynamics, and articulation.

So you've thought about those expressive qualities that we always want to be considering in each part of our composition.

So you can pause my video now, have a go at developing the texture and timbre in the section that returns or a new section in your composition and see how you go.

Best of luck.

For the final part of this task, I'd like to consider how the success criteria applies to your textual material created so far.

So we're gonna be reflecting on how you've developed your texture.

Some questions to consider.

How have you developed your accompaniment patterns? What's it you've done? How have you used timbral and textural changes to create interest in repeated sections of music? So how have you used those tools? We've been looking at the way we change timbre, the way we change texture to make a repeating section stay interesting and stay varied.

What mood and character is suggested by your choice of texture? Does that match the mood and character that you're going for in your composition? And finally, what expressive elements have you used at this point? So how have you managed to make it expressive? Building some expressive elements to it as well.

So you can pause my video while I have a reflection on those questions and you're composing so far.

Let's review today's lesson.

To create contrast in a composition, it's important to vary the texture and the timbre.

This might include changing which part plays the melody and which parts are accompanying.

Composers use a range of accompaniment patterns to create the mood and character in the music.

These could include broken chords and Alberti bass patterns, which as we know are a type of broken chord pattern.

And they change these patterns to create variety and contrast between sections.

That's the end of today's lesson then.

Hopefully you've got some really interesting ideas.

I feel like you've got some tools in your toolbox now to really go developing the texture and the timbre in your composition.

Best of luck for your composing.

And I'll see you in another lesson.

Thank you.