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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
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theme and
variations
ternary form
binary form
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LISTENING GUIDES
Consider incorporating the following pieces as examples of concepts covered in Chapter
2:
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
OVERVIEW OF CHAPTER 2
The elements studied in Chapter 1 interact to create structure. Chapter 2 begins by
explaining the concept of tonality. It also explores how composers combine melodies to
create denser textures. The chapter investigates how harmony and melody combine to
create the concept of key or tonal center. It concludes with the organization of musical
ideas into forms.
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
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 seem 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
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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 (AA´BA) form
Mozart, Variations on Ah, vous dirai-je, maman—theme and
variations
“Greensleeves”—binary (AB) form
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