The most common texture in Western music is homophonic texture, which is made up of a melody and an accompaniment. The accompaniment provides rhythmic and harmonic support for the melody.

• During each period in the history of music, composers employed distinctive textural features. We can generally state that a distinguishing texture type predominates each era.

• The characteristic texture type of the Renaissance period is polyphonic texture. Since harmony was largely described in terms of the relationship of voices, it is natural that a texture of multiple voices would be the result. Renaissance composers placed great value on the independence of lines, although they used imitation at the beginning of most phrases. The textures were of moderate range and seldom very dense.

• The rise of the figured-bass concept, which is basically an accompaniment technique, signalled the beginning of interest in homophonic texture in the baroque period. Both poly- phonic and homophonic textures were used, but seldom in the same composition or movement. Textures in the baroque period were generally denser than those of the Renaissance period, and the rise of instrumental music allowed for wider ranges.

• During the classical period, homophony became the standard texture, and composers engaged in much greater contrast of range and density than in the baroque period.

• The romantic period maintained the predominance of homophonic texture, but with increased range and density. Textures in the romantic period became more complex and often shifted suddenly for emotional effect.

• Composers of the post-romantic period generally maintained the textures that the romantic period composers used, but with the impressionists, texture took on new significance. Many impressionist works depended heavily on texture for their effect. Typical texture types of the impressionistic period are expanded monophonic texture (parallelism) and homophonic texture.

• In the twentieth century, no "typical" texture type has prevailed. Constant texture change characterizes many styles. Composers who choose to imitate the styles of previous periods (in neoclassicism, for example) typically imitate the textures as well. In other styles, the fabric of music explodes into small fragments and textural continuity breaks down.

• Popular music is nearly all homophonic texture. Much of jazz is also homophonic. However, the simultaneous improvisations of some jazz musicians creates true polyphony, with considerable independence of line.

What is the problem of the 20th century musicians (such as Arnold Schoenberg)? Are they enjoying the music or they just want to oppose the previous legends?

 

Last edited by a moderator: Apr 10, 2016

What genre do you mean when you say Popular Music? The thing is that now there are many genres of poular music, I would even say that each genre that manages to survive as a genre can call itself popular. the internet has made it possible for anyone with a few hundred/thousand followers/listeners/downloaders to call themselves popular and successful. If by Popular music you mean the charts, it is widely known now that 'success' is manipulated by money not talent. So you have to re-word your question; more so in the light of the fact that this is the 21st Century now, doh!

 

https://en.wikipedia.org/wiki/Popular_music

 

Foster911 this is the reason you are incapable of finishing your own track. Your glass is full and nobody can teach you anything until you empty it!
I've was good enough to give some advice on your other thread, but instead of taking in and going back to work on the job in hand, you start another thread of diatribic nonsense. You say you lack the knowledge to finish the track, but tou can't gain knowledge with a full glass.

 

Thanks Teknomage for your reading this thread. I'm really thinking about your advices for my later works and this thread is just for getting your and other onses' complementary thoughts.

The reason I did this is:
https://audiosex.pro/threads/completing-the-songs.24511/#post-183790
I should admit that I have serious problem in extending melody and harmony. In every trying, I just deal with 2 or 3 different phrases that joining them together is cumbersome. Thinking homophonically for me has been limited to just 10 seconds.

 

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There are no later works than the one we have yet to complete. If you don't complete anything you won.t learn anything, and if you don't learn anything you can't progress. try opposing sound styles and see how that works.

Oh! and disconnect yourself from the internet and work on that track. intro/ build up to a drop: remember 2 minutes.

 

This time I'll just grab some popcorn and relax.

Have fun guys.

 

Bon appetit!
But after that, please think about the extension for me.

 

I'm not homophonic, some of my best friends are gay

 

Why do you ask so many questions about what techniques other composers are utilizing? Even if someone engaged you in a meaningful discussion u you still couldn't/or wouldn't use those same techniques on your own, in your own tracks. It's like you're researching advance grammar rules but can't finish a whole sentence, let alone a short story(or song).

 

They aren't enjoying anything. All of them are already dead.

 

How did I know this was gonna be a foster911 thread when I read the title?

 

What's your idea about requesting dear SAiNT to open a section with this title "our raw projects" for helping each other musically by direct intervention? Nothing better than that.

Be sure, I'll cease my thread creation then because it's the best way we can collaborate with each other. Collaboration for learning.

I never talk about the warez or participate in useless emotional discussions. All of my threads prove that. I'm just searching ways converting ideas to music.

Hope that way we can better communicate with each other.

Yes there is a collaboration section but it's not what I am talking about. Sharing projects and asking others to have manipulation on them. Just for learning.

 

Last edited by a moderator: Apr 6, 2016

Are you saying there is no life after death?

 

There is one and it's inside a tree as its food helping to its growth. So lets enjoy the music before a tree enjoys us.

 

So, you die and then you live?

 

yes and no... energy is conserved supposedly, you will appear again in the next big bang @exr777 , in some form

or if you choose to believe the many worlds hypothesis implied by quantum mechanics,
you are already existing in multiple or infinite different universes , superposition offers
you many options..

 

Last edited by a moderator: Apr 7, 2016

A bit about the harmonic progression:

• During the Renaissance period, the emphasis was on melodic lines; chord progressions were only an incidental result. However, a Renaissance composer, Adrian Willaert (1490– 1562), produced some early examples of what we now know as circle progressions in some of his works. Although these compositions were probably experimental in nature, the seeds of tonal harmony were apparent.

• In the baroque period the tonal system based on the major and minor scales arose, and harmony began to be a stronger factor. Chord progressions, and especially circle progressions, are clearly in evidence in the works of such early baroque composers as Samuel Scheidt (1587–1654) and Claudio Monteverdi (1567–1643). The middle and latter part of the baroque period brought tonal harmony to a high level of sophistication.

• The music of the classical period depends heavily for its structure on the standard chord progressions. The dominating force of the circle progression is evident in the music of this period, with functional harmony being the mainstay for harmonic relationships.

• Whereas the style of the romantic period was marked by increased chromaticism, harmonic progression continued as an important form-creating element of the period. In the last quarter of the century, the use of standard progressions gradually declined as composers became more and more experimental in their approach.

• In the post-romantic and impressionistic period, composers such as Maurice Ravel (1875–1937), Richard Strauss (1864–1949), and Gustav Mahler (1860–1911) continued to rely heavily on traditional harmonic progression; but others, such as Claude Debussy (1862–1918), Erik Satie (1866–1925), and Alexander Scriabin (1872–1915), looked for and found other alternatives.

• The twentieth century was a period of extreme experimentation. Much of the music of the first half of the century was not organized along tonal lines. However, in the recent past there has been a strong resurgence in tonality, and standard harmonic progressions are often heard again.

• Most jazz and popular music is structured around standard harmonic progressions (which jazz musicians refer to as changes).

 

Last edited by a moderator: Apr 10, 2016

I hate when they drag politics sex genders and other bullshit into music people music is music to relax to enjoy it's for everybody!

 

foster911! You seriously need to lay of the Wikipedia mate! It's stifling your abilities to create.