Texture and harmony across the eras
I can accurately compare the use of texture and harmony across the Baroque, Classical and Romantic periods.
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- Year 10
- AQA
Texture and harmony across the eras
I can accurately compare the use of texture and harmony across the Baroque, Classical and Romantic periods.
Copyrighted materials: to view and download resources from this lesson, you’ll need to be in the UK and
Lesson details
Key learning points
- Texture and harmony had similarities and differences across the Baroque, Classical and Romantic eras.
- A key Baroque texture is polyphony, while melody and accompaniment dominated the Classical period.
- In the Romantic period, music was mostly melody and accompaniment, but was more varied and often complex.
- Baroque and Classical harmony was diatonic and emphasised modulation to closely-related keys.
- Romantic harmony was often chromatic and composers experimented with more complex modulations and chords.
Keywords
Polyphonic - a texture with more than one equally important melodic line
Melody and accompaniment - a texture consisting of a melody with a clearly separate accompaniment
Diatonic - music which uses only notes that are based in the key (e.g. C major or F minor)
Chromatic - music that uses notes from outside the key, creating more complex harmony
Modulation - a change of key during a piece of music
Common misconception
Each period had a single defining texture (e.g. Baroque = polyphonic).
There were typical uses of texture for each period. For example, Baroque composers often used polyphonic textures, much more than Classical composers. However, within each period, there were examples of all textures being used and lots of variety.
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