Introduction

A distinctive feature of the musical culture of the Renaissance was the rapid, rapid development of secular art, expressed in the widespread use in the 15-16 centuries of numerous song forms - French chansons, Spanish villancico. Italian frottols, villanelles, English and German polyphonic songs, as well as a madrigal. Their appearance corresponded to the vital needs of the time, to those progressive trends in the field of ideology, philosophy, and culture, which were associated with the progressive principles of humanism that were intensively asserting themselves. The fine arts, architecture, and literature reached an unprecedented flourishing. During the Renaissance, instrumental music was widely developed. The Renaissance ends with the emergence of new musical genres - solo song, cantata, oratorio, opera, which contributed to the gradual establishment of the homophonic style.

musical instrumental texture song

The concept of "musical texture"

Let's see what an invoice is. Texture is a form of presentation of musical material, which also manifests itself in statics (for example, this or that arrangement of a chord). The texture, being the inner content side of the work, refers to the musical form, which in a broad general aesthetic sense should be understood as an artistically organized embodiment of the ideological and figurative content in specific musical means. But the concept of musical form also has a more special meaning as the very organization of musical material in the process of its development, in other words, shaping that led to one or another structure of the whole and its constituent parts. In this aspect of musical form, texture is conditionally isolated as an area in which not the process of development of musical material (in the appropriate structures) is considered, but expressive means in themselves, in their interaction, interpenetration, totality and unity.

In musical movement, the texture can generally be preserved, maintained in the same or in a partially modified form. In other cases, it receives a certain development. Thus, when the same thematic material is repeated or carried out again, the change in texture itself updates the musical image, and therefore creates its rethinking and development in relation to the previous one (which is especially characteristic of the so-called texture variations). The texture can change significantly in an uninterrupted or intermittent musical movement, including new methods of presentation, or be replaced by a completely different texture in contrast. Whatever the textural development, however, it should not be identified with the process of shaping, as such. At the same time, the areas differentiated in this way - texture and form formation - are generally subordinate to the musical form in its broad general aesthetic meaning indicated above. It follows that texture is always an important component of the artistic content of a work, as a means of embodying a musical image.

Components of musical texture. The means of expressiveness of music are very diverse. These include melody, harmony, rhythm, tempo, timbre, dynamic shades, articulation, strokes, agogics, etc. In their combination and unity, they create one or another artistic imagery or give it different shades. The fundamental compositional role is played by melody, harmony and rhythm. In the process of musical form development, they serve as shaping factors; in the structure of the sound fabric, they are the main structural components of the musical texture. They are inextricably linked in the artistic content of a musical work and can be considered as independent specific areas in one or another scientific aspect. Melody certainly includes rhythm as the organizing principle of any movement. Outside of rhythm, it is only an abstracted melodic line and, as such, can only be considered as a scheme of rectilinear or flexible (wave-like) movement. Such consideration is also necessary, but in essence it is the rhythmic melody that serves as an expressive means. Melodic development contains any intervals, but the main role is played by the second connection of sounds, which, as we will see below, is of essential importance in melodic figuration. The concept of harmony in the broad (modern) sense includes any simultaneous combinations (like a vertical sound fabric), even consisting of two different sounds, that is, the so-called harmonic intervals. In a narrower, special sense, harmony means such consonances that are organized vertically (consistency of sounds), and in this respect it is opposed to the concept of disharmony. With a larger number of sounds, the concept of a chord is introduced, which refers to various kinds of consonances, both consonant and dissonant, but subject to special laws and acquiring fundamental organizational and harmonic significance in the art of music. The essence of any chord lies in the fact that it is a representative of the harmonic system of musical thinking. As such, it serves as the organizing force of harmony and not only in its sound, but also in its modal orientation, that is, it performs one or another function with greater or lesser certainty. Rhythm, as the organizing factor of any intermittent movement (the alternation of sounds, both musical with a certain pitch and non-musical), acts independently in music in many cases, sometimes acquiring a dominant significance (for example, on percussion instruments). But in direct connection with melody and harmony, it usually serves as an accompanying component. The rhythmic organization of sounds is based on combining them into groups that form one or another reference system in time. This system is a meter, which is a kind of canvas, on the basis of which one or another rhythmic pattern of melodic and harmonic movement is formed. This drawing can be simple and coincide with the metric grid (canvas), but more often it is free, and sometimes very complex. Meter and rhythmic pattern can be considered separately in conventional aspects. The ratio of both is emphasized by the name metrorhythm, but we will resort to the general concept of rhythm, which includes both sides of the organization of sounds. At a slow tempo, sounds are combined in two (strong - weak), in a faster tempo - in four, with greater acceleration - in eight; this tendency towards rhythmic squareness in perception itself is of great importance in music. Eight-sound fusion is the limit. As it turned out, texture is a synthesis of the main components (sometimes very complex), and in order to understand their role and relationships, it is necessary to consider it from different points of view, in certain conditional aspects. warehouses, their mixing, interpenetration.

Dmitry Nizyaev

This term in musical theory refers to the structure of the musical fabric. Sounds a bit confusing, right? I am afraid that this concept cannot be more precisely expressed in one phrase. In the modern sense, with a clear division of music into melody and accompaniment, texture can be called the type of this accompaniment, its structure: alternation of bass and chord, just a background of long chords, guitar picking, accompaniment organized in a variety of rhythms - all these are different textures. So, the search, the selection of a new texture is also one of the arranger's tools. You can clothe a melody in delicate translucent clothes, surround it with thin lace, or supply it with sharp active rhythms, or put it in armor and put it on caterpillars - only by means of texture.

We, perhaps, will continue to torment our poor "Christmas tree" so that the difference is more visible on the same example, okay? So, the very first textural formula that we know (since we hear it a hundred times a day from our poor radio) is the formula "clever" or "is-ta" or "boom-shvark", or whatever it is called, in short, the alternation of bass and chord. What will happen to our song if we give it such an accompaniment? Let's listen ( example). By the way, for those who were interested in the lessons about chords on our site: the notes are typed by me with the use of triad inversions, which is recommended for smooth voicing. In general, always strive for naturalness, then your music will be easier to find fans, to be remembered faster. It will just be nicer!

But back to our sheep. I deliberately stripped this example of any decorations to make it more noticeable what can be done with it. How do you sound? Doesn't it look like a drunken elephant? It may not be suitable for a baby lullaby, but remember, it may be necessary: ​​like this, if necessary, we will portray drunken cattle.

But this is just a skeleton texture. Even the primitive "mind" may well become more diverse, there are a whole bunch of variations of this rhythm. Let's see how this can be handled. To begin with, without changing the timbre, you can add dashed colors: let the bass, as a creature that is heavier and more clumsy by nature, “walk” with large durations, stupidly and heavily. To make it heavier, it can be doubled an octave from the bottom. But the chords corresponding to more mobile timbres, we will perform more staccato, easily: ( example).

Further, you can vary this texture by filling all the eighths in the bar with even chords. At the same time, the texture will lose these impudent accents on weak beats, but it will become more dynamic, rush forward. Let's let her do it by picking up the pace example).

You can then add some rhythmic fragmentation to the accompanying formula and even completely change the rhythm - remaining within the principle of "alternating bass with chord": I will try to simply insert auxiliary sounds into the bass part in several places (selecting them from those that are included into the composition of the triad that "lives" at the moment) and other auxiliary notes - like short scales in front of some supporting beats. And in the chordal part of the texture - I'll just shift the chords back and forth from their "legitimate" moments of time, create some kind of jazzy "curvature", syncopation ( example). For those who are not in the know: syncopation is precisely the shift of the sound impact, the accent away from the strong beat of the measure - a typical jazz phenomenon. Well, did it sound more fun?

Further, you can, for example, double each "bass chord" ( example), alluding to the once popular "shake" dance, and so on - as your imagination allows. The texture will take on all sorts of danceable shades as long as you do not change the size and keep at least a hint of this very alternation of "cleverness". Nothing will change in the nature of the music if you include a percussion group. After all, you will simply be forced to repeat here the same formula "bass drum - snare drum (or small cymbal" hat ")". The music will become heavier, but it will remain dance music, moreover, rough and heavy, as it is now fashionable ( example). This type of texture is very (I would say too) easy to create: take any music and add snare drum beats on even beats of the measure. Hundreds of stars now earn their bread with this, but this is not befitting to you and me! Too easily achieved - hence the price of such work - a penny. Both the durability and the value of any art are ALWAYS directly proportional to the labor expended, or rather, to the torment. Therefore, having become acquainted with the texture of the "intelligent", we will continue to arm ourselves with means that are inaccessible to any stars, okay? So, we move on.

The texture can be turned inside out, that is, the role of the melody is entrusted to the bass voice, and the accompaniment moves up. And then a whole set of colors appears, depending on what type of accompaniment is and what kind of instrument leads the theme ( examples ,). Do you hear? The trembling guitar is associated with folklore, with a balalaika or domra, in another case, the combination of bells with timpani gives the melody a certain majesty, and in the third case it is a reminder of, perhaps, Tchaikovsky's ballet music, he adored pulsating flutes and melodious cello themes. You must be able to portray any style, any emotion - after all, it was not in vain that all these composers lived in the world. Everything is already invented, use it!

What other texture types are there? Chord. In principle, the same thing, only the harmonies are not decomposed in time. A very versatile type, by the way. Here are a few examples (let's take a break from the "herringbone", agree?) - ostinato (that is, monotonous pulsation, repetition) creates - at a fast pace - tension, expectation of some kind of denouement ( example), or - less often - enthusiasm, elation ( example), and at a slow pace - either the effect of a funeral procession, or the soft pitching of a slow dance ( example), the fully chordal arrangement of both the theme and the accompaniment is an excellent tool for climaxes ( example).

Arpeggiated accompaniment is the domain of the harp or harp. If you write a free, out of rhythm, "wandering" of a harp over the sounds of a triad, it will turn out kind of like the sound of a waterfall. This technique, by the way, fills the orchestral score with volume and breadth of scope, without overloading either your ear or the sequencer of your computer ( example). The same arpeggiated accompaniment, but in terms of rhythm and time signature, serves well as a full-fledged accompaniment, and not just a "tint", and can even completely replace the melody. A perfect example of this is the first prelude from Bach's classic collection The Well-Tempered Clavier ( example). This is the amazing case when the texture of the accompaniment is so precise and complete that there was no need even for a melody. However, the melody also feels great accompanied by an arpeggio woven into an even rhythm ( example).

Another kind of arpeggio, the so-called "figuration" - is, in fact, the same chords, evenly spread out on one note, with even durations. Even Mozart used this, as always, very witty. Figuration does not require any skill (all children even today use it when picking by ear), and at the same time, figuration perfectly shows all the harmonies, creates a rhythmic grid, "canvas" - like the current rhythm guitar. Two classic examples of figuration are the "broken" movement ( example) and "direct" ( example).

Here, this is probably all the main types of texture. But it's too early to settle down on this, because our goal is to convey a variety of emotions, mental states of an imaginary musical character, isn't it? And the musical texture has properties that are responsible for its emotional content. This is, firstly, the location of music in registers (that is, on the pitch axis) and, secondly, in time. Do not be afraid of overly strict definitions, in fact, everything is very simple.

There is a conditional division of the high-altitude (or frequency, if you like) range into segments or zones - "registers", which are called so - high, medium and low. As you can easily guess, the sound of these registers is colored emotionally in the same way as the sounds around us in life: the lower register is occupied by scary, threatening, powerful, mysterious sounds. Associate them with anything: a locomotive, a bear, an underground rumble, a rocket engine, darkness, death, etc. Therefore, almost everything that you write in this register will evoke the same sensations in your listeners. The middle register is the closest to the sound of a calm human voice, it naturally sets you up for rest, narrates. In this register, it is good to write long, calm melodies that do not strain anyone and do not require anything. The high register - again connect your imagination - this is bird singing, this is a heart-rending cry, this is wind, bells, tension, climax, transparent haze - it all depends on the timbre, on the instrument that you entrust to lead the theme. Agree, a gentle flute singing in the third octave and a distortion guitar screeching with a heart-rending squeal are completely different spheres! But most often, if you do not take any special unusual measures, an elementary pattern works: the higher the sound, the greater the tension. Therefore, the most important culminating note in almost any melody is the highest. Here is an example: Grieg's miniature from the suite "Peer Gynt" - a procession of gnomes. At the beginning (and at the end too), the theme of these very gnomes draws their fabulousness, their tiny steps, their mystery ( example). And in the climax - mind you, ABSOLUTELY the same texture, right down to the last note - the music captures the upper register, or rather, even covers almost the entire musical range. And it turns out - the same music, the same notes, but emotionally - some kind of orgy of evil spirits, hair moving in horror ( example)! Thus, you are subject to almost any emotion due to the contrasting use of different registers, both in comparison and simultaneously.

In addition, the magnitude of the emotional tension of your score directly depends on the density and saturation of the texture. Simply put, the more notes you will simultaneously sound in the same register frames, the music will be more massive, and therefore more intense. In this cadence example) I smoothly expand the range, starting in the middle register and gradually capturing ever wider boundaries up and down. We start almost in a dream, we end in delight. Saturation, texture density and “horizontally” work in the same way: The more active the movement on average, the smaller the duration, the less even the rhythmic pattern, and the more syncopation and rhythmic contradictions arise between different parts - the more sharp, active it will evoke emotion.

Finally, a few words about technology, one piece of advice. There are deep physical reasons why only such combinations of sounds sound beautifully and proportionally, the heights (or frequencies) of which are located on the scale as close as possible to the logarithmic law. Now I will explain. Have you ever seen the scale of a slide rule? Remember how her divisions are arranged - wide on the left, and then closer and closer. According to the same law, overtone frequencies are located on the pitch scale. And you will have to follow the same law if you want your harmonies to be dense, "tasty", juicy, to evoke resonance, so to speak, in the spine of the listeners. Namely: The lower the notes are located in the chord (and this applies not only to the actual chords, but also to chord figurations, arpeggios, and even the entire texture as a whole), the wider the intervals between them should be. Usually the bass voices move in octaves, fifths or fourths, and the upper ones - in any way, even chromatisms. Try it yourself, press the third interval in the first or second octave, and compare it with the big and counteroctave - it sounds much harder, even dumber. Here. There are, of course, exceptions: remember the examples where you and I entrusted the melody to the basses. But this is a special situation, it cannot be called classical. The melody finds itself in extremely unfavorable acoustic conditions, and, as a result, the accompaniment is as rarefied as possible, lightened, reduced to a harmonic motionless background. You can follow the general law in all my examples - arpeggio, bass chord, figuration - wide intervals are used everywhere in the lower end of the texture.

As a practice, I suggest you take any theme you like and write variations using all the types of texture that we talked about. Enjoy how strikingly the mood of the music is recolored with such a dissimilar design.

musical texture(lat. factura- device , structure) - a method of presentation, the structure of the musical fabric, musical warehouse.

Historically, music has developed three main types of invoice:

Polyphony (lat. polyphonia from the Greek πολυφωνία - polyphony) - melodic polyphony, consisting of the simultaneous sounding of relatively independent melodic lines. The polyphonic texture developed in the Middle Ages. There are three main types of polyphony: contrast, imitation (canon, motet, invention, fugue), subvocal (or variant heterophony, characteristic of folk polyphony).

homophony or homophonic-harmonic texture A originates in polyphony. Domestic musicologist Asafiev called it "cooled lava of Gothic polyphony". Within the framework of homophony, chord (Protestant chant) and homophonic-harmonic texture are distinguished, which consists of several layers (for example, from melody and accompaniment).

One of the methods of dynamization, coloring of the homophonic-harmonic texture is harmonic figuration - sequential rather than simultaneous presentation of chord sounds. There are many varieties of harmonic figuration. Here are some of them:

1) arpeggiated presentation of chords (J.S. Bach. Prelude C-dur, XTC, volume I)

2) waltz-like accompaniment (F. Schubert. Waltz op.77, №2)

3) Alberti basses, named after the Italian composer Domenico Alberti (1710-1740) in Sonata C-dur, K.545 by W. Mozart

Notes on the elementary theory of music. Content
Texture in music(from lat. factura - device, structure, processing, warehouse) - a method of presentation, a musical warehouse, the structure of a musical fabric.

Historically three types of texture:

Exists three main types of polyphony : contrast, imitation (canon, motet, invention, fugue), heterophony (typical of folk polyphony).

3. Homophonic-harmonic texture originates in polyphony. Domestic musicologist Asafiev called it "cooled lava of Gothic polyphony". A distinction is made between the actual chord texture (Protestant chorale) and the homophonic-harmonic texture, which is divided into several layers (for example, melody and accompaniment).

May 15

4 quarter, 1 lesson (grade 6)

TOPIC OF THE LESSON: Texture space.

Lesson Objectives:

Educational: to form an idea of ​​the polyphonic texture of music

Developing: on the basis of emotional perception and associative thinking, to teach to distinguish the polyphonic sound of the work

Educational: arouse interest in the analysis of musical texture

Tasks:

Know the signs that reveal the meaning of the concept of "texture";

To be able to distinguish texture in music, fine arts, literature and apply knowledge in practice;

Develop an aesthetic culture, worldview.

Planned results:

Personal Outcomes

1. The formulation of an emotional attitude to art, an aesthetic view of the world in its integrity, artistic and original diversity.

Metasubject Results

Subject Results

- formation of the foundations of the musical culture of students as an integral part of their general spiritual culture;

Development of general musical abilities of students, as well as figurative and associative thinking, fantasy and creative imagination, emotional and value attitude to the phenomena of life and art based on the perception and analysis of musical images;

Expansion of musical and general cultural horizons;

Lesson type: generalizing.

Methods: by appointment - the application of knowledge, creative activity;

by type of cognitive activity - partially exploratory, ICT.

Equipment: PC, multimedia

Music material: S. Rachmaninov - "Spring Waters"; J. Bizet "Morning in the mountains".

FORMS OF WORK:

Listening (comparison and analysis) of musical works.

Performance (singing, learning a song)

View visual material.

During the classes:

1. Organizational moment

The kids go to the music

Organizational moment: performance and musical greeting.

Hello guys!

Hello teacher!

Personal Outcomes

1. Formulation of an emotional attitude to art, an aesthetic view of the world in its integrity,

2. Actualization of basic knowledge.

Play, sing, compose, record, draw….

A piece of music .... How many of them, and how diverse they are! But they all “live” according to the same laws. How can a piece of music be brought to life, what needs to be done and what can be done?

artistic and original diversity.

2. Development of motives for musical and educational activities and the realization of creative potential in the process of collective (individual) music-making.

3. Statement of the learning task. Lesson topic message

about musical texture.

If the sound could materialize, it could become such a fabric - light, transparent, or soft, voluminous, or embodied in a dense, multi-layered, opaque fabric.

I suggest you listen to a piece of music and determine which type of fabric it is more suitable for and mark the necessary characteristics in the worksheet.

So today we will talk

Metasubject Results

1. The use of sign-symbolic and speech means for solving communicative and cognitive tasks.

2. Participation in joint activities on the basis of cooperation, search for compromises, distribution of functions and roles.

4. Learning new material

Writer Yuri Nagibin in the story "Lilac" writes about one summer, which was spent by seventeen-year-old Sergei Rachmaninov in the Ivanovka estate. In that strange summer, the lilac blossomed "all at once, in one night it boiled in the yard, and in the alleys, and in the park." In memory of that summer, one early morning, when the composer met his young first love, he wrote, perhaps, the most tender and excited romance "Lilac"

In "Spring Waters" - the feeling is bright, open, enthusiastic, captivating listeners from the very first bars. The music of the romance seems to be deliberately constructed in such a way as to avoid everything soothing, lulling; there are almost no melodic repetitions in it, with the exception of those phrases that are emphasized by the whole meaning of musical and poetic development: "Spring is coming, spring is coming!"

Hearing

Listen to another romance by S. Rachmaninov - "Spring Waters". Written to the words of F. Tyutchev, it conveys the image of the poem, at the same time introducing new dynamics into it, swiftness, accessible only to musical expression.

Snow is still whitening in the fields,
And the waters are already rustling in the spring -
They run and wake up the sleepy shore,
They run and shine and say...
They say all over the place:
Spring is coming, spring is coming!
We are messengers of young spring,
She sent us ahead!”
Spring is coming, spring is coming!
And quiet, warm, May days
Ruddy, bright round dance
Crowds merrily after her.

What does it represent?

A joyful foreboding of the imminent spring literally permeates the romance. The tonality of E-flat major sounds especially light and sunny, the movement of the musical texture is swift, seething, covering a huge space, like a powerful and cheerful stream of spring waters breaking all barriers. There is nothing more contrary in feeling and mood to the recent numbness of winter with its cold silence and intrepidity.

Spirit of life, strength and freedom
Raises, envelops us! ..
And joy flooded into my soul
As a response to the triumph of nature,
Like God's life-giving voice!

These lines from another poem by F. Tyutchev - "Spring" sound like an epigraph to a romance - perhaps the most joyful and exultant in the history of Russian vocal lyrics.

Unusual expressiveness is achieved by the texture in the works addressed to fabulous-fantastic images. After all, the field of musical fantasy is the world of fairy tales and fabulous nature, a bizarre interweaving of the lyrical and mysterious, this is the world of supernatural beauty - the beauty of fairy forests and mountains, underground caves and underwater kingdoms. Everything that the composer's poetic imagination could create was embodied in sounds, their modulations and combinations, in the movement of texture - now numbly motionless, then endlessly changing.

Rachmaninov has the living power of living water, rushing, bubbling, unstoppable.

The endings of almost all melodic phrases are ascending; they contain even more exclamations than the poem. It is also important to note that the piano accompaniment in this work is not just an accompaniment, but an independent participant in the action, sometimes surpassing even the solo voice in terms of expressiveness and pictorial power!

Subject Results

- formation of the foundations of the musical culture of students as an integral part of their general spiritual culture; - development of general musical abilities of students, as well as figurative and associative thinking, fantasy and creative imagination, emotional and value attitude to the phenomena of life and art based on the perception and analysis of musical images;

Formation of a motivational focus on productive musical and creative activity

Expanding musical and general cultural horizons

6. Reflection of activity Summing up the lesson.

Lesson grades.

We see that the texture certainly captures everything that is connected with the expressiveness of the musical sound. A lone voice or a powerful choir, a poignant outburst of an experienced feeling or a drawing of a spring flower, impetuous movement or extreme numbness - all this, like many other things that inspire and live music, gives rise to its own musical fabric, this “patterned cover” of texture, always new , unique, deeply original.

Children's answers

So, what do we see that is connected in the texture?

1. Name the different types of texture.
2. Recall the musical works known to you, in which the texture would be distinguished by vivid depiction.
3. In what musical genres is the textural space of a significant range used? What do you think it is connected with?
4. Why does the word texture have such synonyms as fabric, pattern, pattern?
5. Compare the different types of invoices given at the beginning of this section.

7. Homework

8. Chanting and learning

Work on the song "Song about the giraffe"

5. Musical texture

The “face” of any piece of music is formed from the main means of musical expression. But each face can have many expressions. And additional means “know” the “expression of the face”. Invoice is one of them.

Literally, “texture” means “processing”. We know that the texture is, for example, in the fabric. By touch, by texture, you can distinguish one fabric from another. Each piece of music also has its own "sonic fabric". When we hear a beautiful melody or unusual harmony, it seems to us that these means are expressive in themselves. However, in order for a melody or harmony to sound expressive, composers use different techniques and methods of processing musical material, different types of musical texture.

In the draft manuscripts of Johann Sebastian Bach, there is this sketch:

This sequence of chords, the harmonic chain is nothing but a prelude for the Prelude C major from Volume I of The Well-Tempered Clavier. What kind of collection is this and why is it so long and strangely called, we will talk in the 5th grade, studying the work of Bach. And the beginning of the prelude goes like this:

From beginning to end, the music of this prelude is built on decomposed chords of the prepared harmonic scheme (Bach's preparation is scheme preludes. He used similar schemes more than once).

So how did Bach turn the scheme into beautiful, gentle, as if "murmuring" music? He changed only the texture in his scheme. The invoice has become main means of expression in this play. (Just do not confuse the main means in a piece of music with the main ones in the system of all means of musical expression. In this system, texture remains an additional means.)

Is there a melody in Bach's prelude? This is just the rare case when music could do without a melody. The French composer Charles Gounod, who lived a century and a half after Bach, decided to "correct the mistake" and composed a beautiful melody "on top" of this prelude. But at the same time, the prelude turned into background, and her own beauty became less audible. Do you remember how Chopin deliberately “stops” the harmony in order to listen to the melody, and vice versa?

Let us recall once again the beginning of Mozart's Fifth Sonata, already familiar to you (and if you forgot, see example 5). Here is what the left hand plays in the first bars:

Example 41a

Let's collect the sounds of each measure into chords, as in the Bach scheme:

Example 41b

Here Mozart uses the same textural technique decomposed chords. This “murmur” of the accompaniment expressively sets off the lightness and carelessness of the initial phrases, which seem to be whistling. But then the phrases in the melody become more and more energetic, "stubborn". And Mozart emphasizes this with a change in texture: the decomposed chords are assembled into harmonic intervals that sound somewhat harsh, even slightly “percussive”.

With the help of texture alone, you can greatly change the character of the sound. This is how Aram Ilyich Khachaturian's little play "Andantino" begins:

Measured, calm rhythmic pulsation accompaniment gives the music a thoughtful character and helps to hear the iridescent paint of chromatically (that is, in semitones) "sliding" thirds.

And here is the beginning of the second section of the play:

The melody and harmony are almost unchanged. In the melody, only the octave and the direction of the first intonation have changed. In harmony, the same intervals are taken as appeals(thirds "turned over" into sixths). But how unrecognizably the texture has changed! Now it is not even quarters that pulsate, but sharp rhythmic figures, intricately decomposed into two voices. And because of this, the nature of the music is completely different graceful, danceable, more lively (although the tempo remained the same).

We have seen that texture affects the character of music no less strongly than melody, rhythm or harmony. But no matter how you change the texture, the face of music will only change expressions, but will not change itself. Form is based on this property of music. variations, which consists of Topics("face") and a number of its changes("expressions"). huge role in variation(change) themes play it texture transformations. The second section of "Andantino" by Khachaturian is also a small variation on the theme of the first section.