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CHAPTER 2: Elements That Structure Music—Key, Texture,
and Form
CHAPTER OUTLINE
Key
Tonality
Scale
Major
Minor
Chromatic
Key Signature
Modulation
Texture
Monophony
Polyphony
Counterpoint
Imitation
Round
Canon
Homophony
Form
Repetition
Contrast
Variation
Theme and variations
Ternary Form
Binary Form
NEW CONCEPTS
tonality
key
minor scale
key signature
chromatic scale
modulation
texture
monophony
polyphony
homophony
counterpoint
imitation
round
canon
form
repetition
contrast
variation
theme and
variations
ternary form
binary form
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distribution in any manner. This document may not be copied, scanned, duplicated, forwarded, distributed, or posted on a website, in
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LISTENING GUIDES
Anonymous, “Dies Irae”—monophonic texture
Josquin, Ave Maria—imitative polyphony
Billings, “When Jesus Wept”—round
Beach, “Ah, Love, but a Day”—homophonic texture
Farmer, “Fair Phyllis”—combination of textures
LEARNING OBJECTIVES
1. Understanding the concept of tonality requires a great deal of experience as well
as study. Students should practice distinguishing major from minor by listening to
any piece on the CDs, then checking their impression against the Listening Guide.
2. Students should listen for tension and resolution so that they can become more
conscious of modulation and arrival points, because these are often tied to form.
3. Students should be comfortable with what defines each of the textures, and should
understand that textures can change and combine freely in a piece of music.
4. Standard forms are a starting point: a template from which many pieces differ.
Given a piece that doesn’t “fit the mold,” students should be able to listen
critically for form.
OVERVIEW OF CHAPTER 2
The elements studied in Chapter 1 interact to create structure. Chapter 2 begins by
exploring the concept of tonality. This chapter also explores how composers combine
melodies to create denser textures. Also explored is how harmony and melody combine
to create the concept of key or tonal center.
TOPICS FOR DISCUSSION
1. Spend some time exploring the idea of tonality. The major and minor scales
depend on more than certain patterns of whole and half steps. They establish a
hierarchy of pitches, some of which are more important than others. The keynote
(tonic) is one pole and the dominant (fifth scale degree) is the other. All the other
pitches gravitate toward one or other of these two pitches. A composer’s
understanding of this polarity helps him or her create moments of tension and
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© 2012 by McGraw-Hill Education. This is proprietary material solely for authorized instructor use. Not authorized for sale or
distribution in any manner. This document may not be copied, scanned, duplicated, forwarded, distributed, or posted on a website, in
whole or part.
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resolution. You can demonstrate this by playing a simple melody such as
“Twinkle, Twinkle, Little Star” or “Mary Had A Little Lamb” and ending on a
wrong note. What makes the “other” note wrong (especially if it is a note from the
scale)?
2. Texture is one of the most foreign concepts to students accustomed to listening to
popular vocal music. Challenge the students to identify the different types of
texture in various styles of music: both instrumental and vocal, both popular and
composed for the concert stage. Since students are still becoming accustomed to
the textbook and ancillaries, be sure to refer them to the “Texture Lab” activity as
a means of reinforcing the usefulness of these materials.
3. As students listen to longer and more complex works, they need to become more
attentive to signals that composers provide to indicate important events in the
music. Sudden dynamic changes, held notes (a slowing of the rhythm), repeated
notes, changes in instrumentation, or changes of register, are techniques that
composers have at their disposal to map out formal designs. Choose a piece to
listen to together, in class, in order to raise their bar of perception; they will be
amazed how much there is to listen for!
FURTHER QUESTIONS AND TOPICS
1. How can the term voice be used in reference to an instrumental layer in musical
texture? Does it actually make it easier to think of pitch registers this way?
2. Can a piece of music not modulate at all? Explore the different nuances of the
term: a local example within a simple melody, or a large-scale form. Remind
students that many local modulations can occur even within a section in a given
key area. Keep them focused on the big picture, when listening for form.
3. Some additional listening examples to illustrate formal plans are:
The “Flintstones” theme—ternary (AABA) form
Mozart, “Variations on Ah vous dirai-je maman”—theme and
variations
“Greensleeves”—binary (AB) form
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© 2012 by McGraw-Hill Education. This is proprietary material solely for authorized instructor use. Not authorized for sale or
distribution in any manner. This document may not be copied, scanned, duplicated, forwarded, distributed, or posted on a website, in
whole or part.