Polyphony Polyphony (polyphonic texture) is an important texture in all historicstyle periods. Polyphony contains two or more active melodies. Incontrast to hom*ophony, emphasis is placed upon the interplay betweenlines rather than on a single melody or a stream of chord sounds. Theinterplay of contour, motives, continuity features, and rhythms areimportant factors in polyphonic texture.
Rhythmic Strata
Rhythmic stratification, also called layers, results when two or morevoices move at different but closely related levels of rhythmicactivity. One voice may contain mostly quarter notes while anothercontains eighth notes. This is somewhat like different parts of amachine moving at different but related speeds. Layering is animportant feature of polyphonic texture.
Roles of Voices;
In polyphony, all the voices may be equally importantor one voicemay be more prominent than the others. Voices may join in couplings orconversation-like exchanges, a polyphonic feature present in most ofBach's chorales.
Individual voices change roles in polyphony more frequently than inhom*ophonic texture. These roles change periodically and systematicallyin canons, inventions, or fugues. The voices may share the same motiveideas and be closely related by content. Conversely, some or all of thevoices may use motives that differ from those used in other voices. This causes greater independence among the voices.
The high voice is the principal melody in the next passage, the lowvoice a subordinate accompanying melody. The excerpt is polyphonicbecause a melody is accompanied by another. A quarter note rhythmicstrata (layer) is established in the bass that provides a steadyrhythmic background to the melody. The rhythms in the top line are morevaried.
Example 1: March in D Major J. S. Bach
Counterpoint Counterpoint is the interaction of voices in polyphonic texture.Imitative counterpoint occurs if one voice repeats or mimics thepatterns just stated in another voice. A canonic process occurs if theanwering voice or voices repeat the lead voice exactly. A compositionbased upon this process is a canon. Imitation is continuous throughouta canon. The next excerpt is the beginning of the fourth movement of asonata. The violin is in canon with the top voice of the piano.
Example 2: Canon in Sonata for Violin and Piano César Franck
Imitation Intervals and Time Intervals One voice may imitate another at the same or different pitch level. Theinterval of imitation is the interval of transposition. If the theanswering voice does not change level, imitation is "at theunison." The previous example was in canon at the octave.
The time interval measures the number of beats between the beginning ofthe original idea and the answer. Time intervals vary in length andsometimes change within a composition.
Both voices are of equal importance in the next example. One voice imitates the other in a canon-like pattern but imitation ceases two measure before the cadence. The first two measures are imitated in inversion. The lead voice is repeated at the perfect fifth, thus the interval of imitation is P5. The imitation occurs two beats later thus the time interval (delay) is two beats.
Example 3: Cantione no. 1 Orlando de Lassus
Discounting the middle voice, the next excerpt has the following features: a. the two essential voices (top and bottom) are of equal importance b. the two voices are independent in rhythm, contour, and content. c. the voices do not exchange roles. The middle voice strictly parallels the top voice at the interval of a P4, an example of organum. Perform the example with and without the middle voice and note the difference in effect.
Example 4: from Missa Sancti Jacobi Dufay
Communio
The next example has the following features: a. All voices are of equal importance b. All voices are independent in contour, rhythm, but NOT in content. Each voice repeats ideas presented in the lead voice c. The roles of the voices change as each new voice enters in imitation of the preceding voice.Each voice continues in free counterpoint after repeating three measures of the lead voice. Compare mm. 4-6 of the middle voice with mm. 6-8 of the bottom voice. The pattern is imitative but not canonic.
Example 5: from Missa Aeterna Christi Palestrina
Benedictus 
Non-imitative Polyphony The next excerpt illustrates two-part, non-imitative polyphony becausethe ideas in one voice do not recur in the other. The texture ispolyrhythmic instead of monorhythmic because the voices never use thesame rhythm patterns at the same time. The contours move in opposition. The net result is two independent lines.
Example 6: Virelai Machaut
In the next excerpt, the two treble parts form one coupled voice whilethe bass provides a sixteenth note contrast. This produces two distinctrhythm layers. The contrast between the treble and bass voices iscaused by differences in rhythm and contour.
Example 7: from Sonata da camera a tre,op. 4 Corelli
Allemanda, allegro
The next excerpt is four-part polyphony. Three of the four voices usesimilar motive material to establish a unity among these voices.Although these voices are related by motive content, the texture isnon-imitative. The chorale tune (Jesu, meine Freude) is in the sopranovoice. Contrast is supported by rhythmic strata, quarter notes in thetune in opposition to eighths and sixteenths in the other voices. Theresult is the polyphonic accompaniment of a melody.
Example 8: from the Little Organ Book Bach
Chorale Prelude; Jesu, meine Freude, BWV 610
Imitative Polyphony The next excerpt is two-part, imitative polyphony. One voice mimics themotive ideas of the other. The texture is polyrhythmic because twodistinct rhythmic strata are present, one in eighth notes and the otherin sixteenths. The roles of the voices alternate in a cyclical pattern. Bach called this kind of composition an invention, a fugue-like processthat features the systematic recurrence of a thematic idea called asubject. The sixteenth note motive is the main thematic idea of thisinvention.
The eighth note motive is an accompaniment figure. All the material in the invention is derived from these two ideas.
The subject is stated in each voice. This is followed by a passage made up of figures derived from the first two measure. This procedure is repeated two more times in the composition (not shown here).
A complete invention is included in the applications at the end of thischapter. When analyzing this invention, note how the beginning of eachsection is defined by the recurrance of the subject.
Example 9: Invention No. 4 Bach
The next excerpt is three-part imitative polyphony. A three-measuremelodic idea is repeated verbatim in the other voices. Once the idea isstated, each voice continues with an accompaniment pattern ofnonimitative counterpoint. The process is canon-like but not a strict canon.
Example 10: Sanctus from Missa Aeterna Christi Palestrina
The Desprez excerpt is made up of two two-part canons, a double canon. The soprano and alto make up one canon and the tenor and bass the other. The voices in each canon are identified with Roman numerals.
Example 11: Baises moy Desprez
Harmony in Polyphony; Polyphonic texture can be reduced to a basic harmonic core, usually amonorhythmic chorale-like pattern . This is done by removing rhythmicornamentation and noting underlying voice leading. As shown in the nextexcerpt, even two-part polyphony implies a harmonic core.
Example 12: March in D major J. S. Bach
As more voices are added, the impression of background chords becomesmore complete This can be seen in the next two examples.
Example 13. I Gave Her Cakes Purcell
In the next example, the rhythm of the background harmony is lesssupportive of the meter. Use of more third relations in thisprogression softens the focus on tonic.
Example 14. Agnus Dei Palestrina
Texture Analysis;
Texture Variables; Prominent rhythmic and melodic ideas are heard as figure on ground. Theperforming medium and texture are elements of this ground, helping toestablish an environment that influences the meaning of figure. Changesin this ground often support basic changes in the pattern and structureof a compositionthe form of the composition. The textural map ofa composition is an aspect of its form.
Variations in texture pattern contribute greatly to the form and mood ofa composition. Composers and arrangers coordinate changes in texturewith changes of key, mode, melodic pattern, continuity, rhythm, andharmonic background.
Texture factors contribute to the development of musical form. Thesefactors are used as both constants and variables. When used asconstants, textural patterns establish steady states that give a sectionof a composition its characteristic features.
When used as variables, changes in texture pattern create contrasts thatstimulate the listener's attention. These contrast help to establishnew sections in the form of the composition.
Case Study 1, Oculus no vidit (Orlandus Lassus) The short composition in the next example illustrates how a composercontrols texture to shape a composition and sustain interest. Performand listen to this composition while analyzing it. Refer to Appendix Ffor information on factors that affect textural pattern. Make a copy ofthe appendix to avoid page flipping.
Overview The composition is through-composed and each section starts with a newmotive. Each section of this composition is marked by a letter in abox. The phrases within each section are marked by lower case letters.The interval of imitation is enclosed in parentheses. These intervalschange during the course of the work. The ascending and descending P4motive recur as parts of new thematic ideas (compare sections B and D).
The Latin text of this composition translates roughly into English asfollows:
Eye hath not seen, nor ear heard, nor rose in man'sheart, what God has prepared for them that love him.
The composer established a close tie between words and music. Eachphrase of music corresponds to a clause in the text. Sections A and Beach contain two clauses and thus two phrases of music. The remainingsections contain one phrase each . Section D2 is a repeat of section D1.
Perform and listen to this composition before attempting to analyze it.Look for a connection between musical patterns and word meanings, wordrhythms, poetic form of the text. Does the close study of thiscomposition help you to look at the composition with more interest anddetail, to see and appreciate the ties between words and music? Doesthe depth to which you understand this composition affect the quality ofyour performance? Become familiar with the work before studying thecomments that follow it. Perform and listen to the composition.
Example 15. Cantione No. 3 ( from Cantiones duarum vocum) Orlandus Lassus
Comments on Oculus non vidit
1. Unifying Constants Register: Constant, limited to soprano and alto vocal ranges Density: two voices Sound Norm: Most beats and accents are reserved for consonant intervals. Dissonant intervals are used mostly as unaccented melodic links (i.e. passing tones, etc.). Dissonant intervals are rarely accented. Kind of Pattern: Imitative polyphony, polyrhythmic Relative Complexity: similar throughout the composition.
2. Texture Variables Range/Spacing: is changeable because of the independent movement of thetwo voices. A change to open or closed spacing is used sometimes toset off a new section. Sound: Cadences at the end of each section aremarked by dissonance, an ornamented suspension figure. The interval ofimitation varies from section to section although imitation at the fifthis common. Location of Figure: Changes in leader/follower roles help todistinguish one section from another. The inverted imitation startingat bar 16 is distinctive. Rhythmic Interplay: Rhythmic dialogues,changes in rhythmic pace alternates between voices, pace increasesbefore cadences.
3. Shaping Factors a. New motives are used in each section. b. Extra emphasis is placed onthe D section through repetition (D1, D2). c. Cadences feature specialsuspension motives that reinforce punctuation. Each cadence ispreceded by an increase in pace. Imitation ceases at these points. Activity slows just before each cadence pitch, A, E, A, and D (all aperfect fifth apart!). d. Section C is the dramatic high point in thecomposition. Contours are in strong opposition, coinciding with themost rapid increasesin range and spacing in the composition. The altovoice moves a tenth in one bar at this point, a particularly dramaticgesture in comparison to the rest of the composition. This gestureoccurs again near the close of section C.
4. Speculations About Word Painting
a. the word "oculus" (mm.1-3) is set to open notes, perhapssymbolizing open but blind eyes.
b. the word "aurus" (mm.4-8) is set to active, ornate rhythms, perhaps suggesting the"hearing" of figure.
c. "cor hominis" is set to achange to triple meterand a close time interval in the imitation. This creates a "heart beat" pulse in the music.
d."ascendit" is set in ascending lines. The "heartbeat" rhythm continues in duple meter.
The Italian text relates to spurned love and translates roughly intoEnglish as follows: I die, weak from pain, And the one who could giveme life, Alas, kills me and will not give me life. O sad fate, Theone who could give me life, Alas, gives me death.
Only the setting of the first stanza is included here. In the completework, the first stanza of the text occurs a second time at a new pitchlevel. The first and third lines of the second stanza (beginning with"O dolorosa") are repeated but the middle line is stated onlyonce. The final line, "ahi, mi da morte" is repeated severaltimes.
Texture patterns are related to key words in the text. Gesualdo singledout certain key words for special treatment. "Moro" (I die)was given a chromatic and slow monorhythmic setting. In contrast,"vita" (life) was given a diatonic, animated, polyrhythmicsetting. "Ahi" ("alas," "oh," or"oi"), is repeated antiphonally, in sudden contrast toprevious material, a dramatic gesture like pressing one's hand on thechest or forehead. During this period (early Baroque), composersroutinely used descending chromatic lines to symbolize sorrow or death.
Perform and listen to this excerpt before attempting an analysis. Whattextural constants and variables did Gesualdo use when setting eachindividual line of the text? How does the setting of one line differfrom the next?
Example 16. Moro, Lasso, al mio duolo (section 1, first stanza, mm. 1-22) Gesualdo
mm. 1-6 "Moro, lasso al mio duolo"
monorhythmic, chromatic, slow pace, minor, hom*ophonic.
mm. 7-12 "e chi mi puo dar vita"
polyrhythmic, diatonic, lively, major, imitative.
mm. 13-22 "ahi, che m'ancide e non vuol darmi vita"
polyrhythmic changing to monorhythmic, chromatic, medium pace, imitative then chordal.
| polyphony | polyphonic texture | canon |
| rhythmic strata | rhythmic layers | double canon |
| imitation interval | time interval | texture variables |
| non-imitative polyphony- | imitative polyphony- | texture constants |
| invention subject |
Application, AnalysisPerform and listen to the composition before attempting an analysis. Perform and listening periodically during the analysis to check yourfindings. When completing the analysis, refer to appendix B (Guide toAnalysis of Contour, Continuity, and Skeleton of Melody), C (Motives andTheir Variants), D (Guide to Analysis of Motives, Phrases, PhraseGroups), and F (Guide to the Analysis of Musical Texture).
1. Two-Part Invention no. 1, J. S. Bach. The completeinvention is included below. An analysis of the motives was started inPart 1. One motive was labeled "a/b" because it combines therhythm of motive b with the first four notes of motive a. One can alsoconclude that all ideas are derived from motive a. Use this analysis asa guide when completing the analysis of motives used in the remainder ofthe work. Write a few paragraphs to explain and compare how thethematic material was used in Parts 1, 2 and 3 of the invention.
Listen to recording of any or all of these composition, preferably withscore in hand. This as an opportunity to practice score reading. Follow significant thematic material as it flows from voice to voice. At the same time, observe changing details in the texture.
Any two-part Invention (Bach),
Any prelude and fugue in the Well Tempered Clavier (J. S. Bach)
Two-part compositions in Mikrokosmos, especially Books 5 and 6 (Bela Bartok)
Any prelude and fugue in Ludis Tonalis (Paul Hindemith),
Hymn and Fuguing Tunes (Henry Cowell)
Rounds for String Orchestra (David Diamond)
Fugal passages from Metamorphisis on a theme by Carl Maria von Weber (Paul Hindemith)
Fugue from Young Person's Guide to the Orchestra (Benjamin Britten)
Dirge of Serenade for Tenor Horn and Strings (Benjamin Britten)
Music for Strings, Percussion, and Celeste, first movement. (Bela Bartok)
Music for Theatre (Aaron Copland)
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