What is the knowledge of the music theory of the texture

Weave (texture) is one of the structural forms of music, we all know the music theory of the weave? Below I bring you the relevant knowledge of the music theory of the texture, welcome to read!

Weave music theory knowledge (a)

Time form

Time form is called "music form" (music form), which is one of the special terminology of music. A work, whether it is an hour-long symphony or a one-minute ditty, has a structural form. It may have only one passage containing a few phrases, or it may consist of three or even more passages. Whatever the form, it is only in the course of time, after listening to the piece in its entirety, that we can realize what its entire structure is. This is the form of music in "time" - the form.

Spatial structure

Music is invisible, purely auditory, so how is this "space" perceived? In fact, this is a concept borrowed from visual impressions, and it can also be visualized in the score. Aurally, it refers to how many levels of sound we hear over a period of time, and how these levels relate to each other. For example, you can tell within a few tens of seconds (just a few seconds if you are highly skilled) whether the sound is a single melodic line, or whether it is supported by a harmonic background underneath the melody, or whether there are several different melodies that intersect and overlap? This "spatial" structure also has a specialized term in music - the weave.

The word "weave" is a clever translation of the word, and it allows us to visualize it. For example, the sweater we all wear can have a tight, thick structure or a thin one with exposed holes. It can be flat and neat, or it can have many raised patterns that resemble relief. In music, we have a similar writing style, if you have the opportunity to open an orchestra's general score (the general score is a form of notation used by composers writing orchestral music, all the instruments are written on it, with it is different from the score, that is, each kind of instrument's own piece of music, for example, in an orchestra, the violinist score on the music stand, only belongs to his own notes, while the flute or the timpani The flute or the timpani play nothing. The conductor's score is the master score, which includes everything, because he has to keep track of the whole picture), you can see at a glance whether it is acoustically dense or transparent. If it's acoustically thick, most if not all of the parts of the score are filled with notes, while if it's acoustically sparse and transparent, there are only a few instruments playing, and most of the instruments are "resting", leaving the score empty.

Organic music knowledge (2)

In addition to monophonic, polyphonic, there is a third type of weaving: harmonic weaving, which has a prominent melody, which can be called the main theme, and a set of harmonic accompaniment to this melody. Leaving the harmonic accompaniment, the melody becomes monophonic, and leaving the main theme, the harmonic accompaniment has no meaning, because it is subordinate to the status of its "soul" in the melody there.

The harmonic form is more common than the polyphonic form. A song with an accompaniment is usually in harmonic form. The following is an example of an art song by the Austrian composer Schubert, "The Wild Rose," with the main melody sung by the voice and the piano providing the harmonic and rhythmic background:

Song example 6: Schubert's song "The Wild Rose"

Harmonic weaving is also known as dominant weaving, and by dominant weaving, we mean the "main melody" - a major melody with a relatively minor harmonic accompaniment. The main theme is the "main melody" - a main melody with a more minor harmonic accompaniment. It can also take various forms, with some simple and some complex harmonic accompaniments. Let's remain with Schubert's song as an example. The song above, "Wild Roses" belongs to the more simple ones, just rhythmic and harmonic accompaniment. Whereas most of his song accompaniments are figurative in character, in "Serenade" the pattern of the accompanying voices mimics the playing of the guitar:

Example 7: Schubert's song "Serenade"

Example 7: Schubert's song "Serenade"

In "The Demon King", the piano accompaniment's continuous strumming in the bass region mimics the sound of rushing hoofbeats and nervousness

Example 8: Schubert's "The Magician"

Example 8: Schubert's "The Magician"

"The Trout" is also a wonderful piece, with a lively piano accompaniment that evokes the clear, happy stream and the fish swimming in the splash of the song:

Example 9: Schubert's "The Trout"

Example IX: Schubert song "Trout"

The examples given here are all songs, and in an orchestral piece, where there are more instruments and more layers, the relationships between them are more diverse.

The music theory of the weave (III)

Monophonic weave - there is only a single melody.

Polyphonic weave - contrasting polyphony, consisting of two or more distinct melodies superimposed on each other. Imitative polyphony, where the same melody is chased sequentially in different voices with a gap of one or two beats.