<Table> <Tr> <Th> Type </Th> <Th> Description </Th> <Th> Visual </Th> <Th> Audio </Th> </Tr> <Tr> <Td> Monophonic </Td> <Td> Monophonic texture includes a single melodic line with no accompaniment . ( Benward & Saker 2003 , p. 136 ) . PSMs often double or parallel the PM they support ( Benward & Saker 2003 , p. 137 ) . </Td> <Td> `` Pop Goes the Weasel '' melody ( Kliewer 1975 , pp. 270 -- 301 ) . </Td> <Td> <Table> <Tr> <Td> </Td> <Td> Pop Goes the Weasel Tune for Pop Goes the Weasel </Td> </Tr> <Tr> <Td colspan="2"> Problems playing this file ? See media help . </Td> </Tr> </Table> </Td> </Tr> <Tr> <Td> Biphonic </Td> <Td> Two distinct lines , the lower sustaining a drone ( constant pitch ) while the other line creates a more elaborate melody above it . Pedal tones or ostinati would be an example of a SS ( Benward & Saker 2003 , p. 137 ) . </Td> <Td> Pedal tone in Bach 's Prelude no . 6 in D Minor , BWV 851 , from The Well Tempered Clavier , Book I , mm . 1 -- 2 . All pedal tone notes are consonant except for the last three of the first measure ( Benward & Saker 2003 , p. 99 ) . </Td> <Td> <Table> <Tr> <Td> </Td> <Td> Pedal tone Bach File : Pedal tone Bach - BWV 851 , m. 1 - 2. mid Pedal tone in Bach 's Prelude no . 6 in D Minor , BWV 851 , from The Well Tempered Clavier , Book I , mm . 1 -- 2 . </Td> </Tr> <Tr> <Td colspan="2"> Problems playing this file ? See media help . </Td> </Tr> </Table> </Td> </Tr> <Tr> <Td> Polyphonic or Counterpoint or Contrapuntal </Td> <Td> Multiple melodic voices which are to a considerable extent independent from or in imitation with one another . Characteristic texture of the Renaissance music , also prevalent during the Baroque period ( Benward & Saker 2003 , pp. 1999 , 199,158,137 , 136,129,110 , 90 , 59 , 35 , 11 , 9 , 0 ) ) . Polyphonic textures may contain several PMs ( Benward & Saker 2003 , p. 137 ) . </Td> <Td> A bar from J.S. Bach 's `` Fugue No. 17 in A flat '' , BWV 862 , from Das Wohltemperirte Clavier ( Part I ) , a famous example of contrapuntal polyphony . Play ( help info ) </Td> <Td> <Table> <Tr> <Td> </Td> <Td> Book 1 -- Fugue No. 21 in B - flat major ( BWV 866 ) performed on a Flemish harpsichord by Martha Goldstein </Td> </Tr> <Tr> <Td colspan="2"> Problems playing this file ? See media help . </Td> </Tr> </Table> </Td> </Tr> <Tr> <Td> Homophonic </Td> <Td> The most common texture in Western music : melody and accompaniment . Multiple voices of which one , the melody , stands out prominently and the others form a background of harmonic accompaniment . If all the parts have much the same rhythm , the homophonic texture can also be described as homorhythmic . Characteristic texture of the Classical period and continued to predominate in Romantic music while in the 20th century , `` popular music is nearly all homophonic , '' and , `` much of jazz is also '' though , `` the simultaneous improvisations of some jazz musicians creates a true polyphony '' ( Benward & Saker 2003 , p. 136 ) . Homophonic textures usually contain only one PM ( Benward & Saker 2003 , p. 137 ) . HS and RS are often combined , thus labeled HRS ( Benward & Saker 2003 , p. 137 ) . </Td> <Td> Homophony in Tallis ' `` If Ye Love Me '' , composed in 1549 . The voices move together using the same rhythm , and the relationship between them creates chords : the excerpt begins and ends with an F major triad . </Td> <Td> <Table> <Tr> <Td> </Td> <Td> Tallis ' `` If ye love me '' Beginning of Tallis ' `` If ye love me , '' notated above . </Td> </Tr> <Tr> <Td colspan="2"> Problems playing this file ? See media help . </Td> </Tr> </Table> </Td> </Tr> <Tr> <Td> Homorhythmic </Td> <Td> Multiple voices with similar rhythmic material in all parts . Also known as `` chordal '' . May be considered a condition of homophony or distinguished from it . </Td> <Td> see above </Td> <Td> </Td> </Tr> <Tr> <Td> Heterophonic </Td> <Td> Two or more voices simultaneously performing variations of the same melody . </Td> <Td> </Td> <Td> </Td> </Tr> </Table>
<Table> <Tr> <Th> Type </Th> <Th> Description </Th> <Th> Visual </Th> <Th> Audio </Th> </Tr> <Tr> <Td> Monophonic </Td> <Td> Monophonic texture includes a single melodic line with no accompaniment . ( Benward & Saker 2003 , p. 136 ) . PSMs often double or parallel the PM they support ( Benward & Saker 2003 , p. 137 ) . </Td> <Td> `` Pop Goes the Weasel '' melody ( Kliewer 1975 , pp. 270 -- 301 ) . </Td> <Td> <Table> <Tr> <Td> </Td> <Td> Pop Goes the Weasel Tune for Pop Goes the Weasel </Td> </Tr> <Tr> <Td colspan="2"> Problems playing this file ? See media help . </Td> </Tr> </Table> </Td> </Tr> <Tr> <Td> Biphonic </Td> <Td> Two distinct lines , the lower sustaining a drone ( constant pitch ) while the other line creates a more elaborate melody above it . Pedal tones or ostinati would be an example of a SS ( Benward & Saker 2003 , p. 137 ) . </Td> <Td> Pedal tone in Bach 's Prelude no . 6 in D Minor , BWV 851 , from The Well Tempered Clavier , Book I , mm . 1 -- 2 . All pedal tone notes are consonant except for the last three of the first measure ( Benward & Saker 2003 , p. 99 ) . </Td> <Td> <Table> <Tr> <Td> </Td> <Td> Pedal tone Bach File : Pedal tone Bach - BWV 851 , m. 1 - 2. mid Pedal tone in Bach 's Prelude no . 6 in D Minor , BWV 851 , from The Well Tempered Clavier , Book I , mm . 1 -- 2 . </Td> </Tr> <Tr> <Td colspan="2"> Problems playing this file ? See media help . </Td> </Tr> </Table> </Td> </Tr> <Tr> <Td> Polyphonic or Counterpoint or Contrapuntal </Td> <Td> Multiple melodic voices which are to a considerable extent independent from or in imitation with one another . Characteristic texture of the Renaissance music , also prevalent during the Baroque period ( Benward & Saker 2003 , pp. 1999 , 199,158,137 , 136,129,110 , 90 , 59 , 35 , 11 , 9 , 0 ) ) . Polyphonic textures may contain several PMs ( Benward & Saker 2003 , p. 137 ) . </Td> <Td> A bar from J.S. Bach 's `` Fugue No. 17 in A flat '' , BWV 862 , from Das Wohltemperirte Clavier ( Part I ) , a famous example of contrapuntal polyphony . Play ( help info ) </Td> <Td> <Table> <Tr> <Td> </Td> <Td> Book 1 -- Fugue No. 21 in B - flat major ( BWV 866 ) performed on a Flemish harpsichord by Martha Goldstein </Td> </Tr> <Tr> <Td colspan="2"> Problems playing this file ? See media help . </Td> </Tr> </Table> </Td> </Tr> <Tr> <Td> Homophonic </Td> <Td> The most common texture in Western music : melody and accompaniment . Multiple voices of which one , the melody , stands out prominently and the others form a background of harmonic accompaniment . If all the parts have much the same rhythm , the homophonic texture can also be described as homorhythmic . Characteristic texture of the Classical period and continued to predominate in Romantic music while in the 20th century , `` popular music is nearly all homophonic , '' and , `` much of jazz is also '' though , `` the simultaneous improvisations of some jazz musicians creates a true polyphony '' ( Benward & Saker 2003 , p. 136 ) . Homophonic textures usually contain only one PM ( Benward & Saker 2003 , p. 137 ) . HS and RS are often combined , thus labeled HRS ( Benward & Saker 2003 , p. 137 ) . </Td> <Td> Homophony in Tallis ' `` If Ye Love Me '' , composed in 1549 . The voices move together using the same rhythm , and the relationship between them creates chords : the excerpt begins and ends with an F major triad . </Td> <Td> <Table> <Tr> <Td> </Td> <Td> Tallis ' `` If ye love me '' Beginning of Tallis ' `` If ye love me , '' notated above . </Td> </Tr> <Tr> <Td colspan="2"> Problems playing this file ? See media help . </Td> </Tr> </Table> </Td> </Tr> <Tr> <Td> Homorhythmic </Td> <Td> Multiple voices with similar rhythmic material in all parts . Also known as `` chordal '' . May be considered a condition of homophony or distinguished from it . </Td> <Td> see above </Td> <Td> </Td> </Tr> <Tr> <Td> Heterophonic </Td> <Td> Two or more voices simultaneously performing variations of the same melody . </Td> <Td> </Td> <Td> </Td> </Tr> </Table>
the texture of a melodic line with harmonic accompaniment is
the texture of a melodic line with harmonic accompaniment is
Homophonic
Homophonic