The concept of "musical texture". What is the musical texture In what musical genres is the texture space used

1. Full name Aleksashkina Oksana Viktorovna

2. Place of work MBOU secondary school 47

3. Job title Teacher

4. Subject music

5. Class 6a

6. Lesson topic: MUSICAL VOICE AND ITS TYPES (23)

7. Basic Tutorial T. I. Naumenko, V. V. Aleev

8. The purpose of the lesson: acquaintance with the concept of "musical texture" and its types.

9. Tasks:

9.1. Give an idea of ​​the invoice as a means musical expressiveness.

9.3. Learn to compare and analyze musical works.

9.4. Check students' knowledge on the topic "polyphony".

9.5. Develop students' musical skills.

9.6. Cultivate interest and love for music.

10. Lesson type: OZN.

11. Forms of work Individual, group, collective.

12. TO: Musical and demonstration material: portraits of N. Paganini and F. Schubert, samples of various textile fabrics, musical examples, handout, music center.

STRUCTURE AND PROCEDURE OF THE LESSON

MUSICAL INVOICE AND ITS TYPES

Organizing time.

Hello guys! Sit down.

The epigraph of our lesson will be the words of the great Russian composer Sergei Vasilyevich Rachmaninov, who said:

"The main goal of my work has always been the search for an original musical language. I hate imitation and hackneyed tricks."

What do you think musical language is?

Children: These are means of musical expression (melody, rhythm, tempo, harmony, dynamics, harmony).

Teacher. Well done. Would you like to expand your knowledge in this area?

Teacher: I will continue the lesson with verses:

We start a new day in the morning

It's time for us to wake up.

We are at the music lesson

We make it right on time

After all Magic world art

Awakens our senses!

With a song, we live more cheerfully,

FROM Good morning, new day!

Smiled at each other, wished good luck,

Smiled at the guests.

I wish you good luck too!

We will start the lesson with a test of knowledge on the topic "Polyphony".

2. Testing. (Appendix 1) Work in pairs.

1. In literal translation"polyphony" means:

2. Polyphony took its origins:

a) from folk music

b) church music

c) secular music

3. How many centuries has polyphony dominated?

a) 5 centuries

c) 10 centuries

Check answers with the board, check in pairs.

What word can combine the techniques used in the test?

Children: Polyphony.

Name polyphonic genres. Choose the correct answers on the board (Appendix 2).

concert, canon, toccata, etude, invention, waltz, mass.

And the highest form polyphonic music- this is…

Children: fugue.

And which of you can list the ways of changing the theme in a fugue?

Children list.

Do you think this knowledge will be useful to us today in the lesson?

Work in groups of 4 people. There are fabric samples on the table (Appendix 3)

Questions. And what is it?

What is the fabric made of?

Children. From threads.

Teacher. Why is the fabric different?

Children. Because threads of various thicknesses, qualities, and origins are involved in its creation. When creating the fabric used various ways spinning and weaving.

Teacher ( draws attention to the texture samples laid out on the students' desks) (Appendix 5)

Now look at the way music is presented, what does that remind you of?

Children. "Musical fabric", "patterns", "ornament".

Teacher. What is it all made of?

Children. All this is created with the help of lines, musical notation, rhythmic and melodic pattern.

Teacher. And in fact, what is presented, set out in front of you?

Children. Before us are musical works set forth different ways(3 types of musical texture are presented in front of the children: monophonic, melody with accompaniment and polyphony).

Guys, now we will listen to three musical fragments, and then you will say what kind of texture sounded in each of them?

Record answers on the board.

You can see that we got different answers. Let's stop and think

1) what task did we perform?

2) where did the difficulty arise?

3) why we could not answer these questions?

Children. We do not know what is the difference between these three musical textures.

Teacher: What is the purpose of our lesson?

4. Purpose: (children should name) learn to find differences in different types of musical textures, get an idea about texture as a means of musical expression. The teacher summarizes the goal. What will be the theme of our lesson?
Topic: MUSICAL VOICE AND ITS TYPES

Children choose a way out of the difficulty - clarification. Build a plan

goal achievement. To do this, the teacher asks questions:

What shall we do first?

1. Let's listen to 3 pieces of music

2. Let's analyze each piece of music

3. Find out what are the main differences between the textures of each fragment.

4. What material will we need in the lesson to answer the questions that have arisen?

Children. Samples of musical works (notes, handouts, music for listening), samples of textile fabric.

5. Texture is a way of presenting musical material. It may be different. Look at samples. And today we will get acquainted with some of its species.

1. Caprice No. 24 by N. Paganini sounds.

Teacher: What did you hear? Tell us about your impressions.

Children. The work impresses with its beauty of sound, flight of sound, and is distinguished by the originality of its timbre.

Teacher: What instrument was involved in the performance?

Children. There was a violin solo.

Teacher. It is used to convey personal feelings, as well as to express the beauty and originality of the instrument's timbre. However, an exclusively monophonic work is a rather rare phenomenon. Usually in musical works there is a comparison and interaction of various figurative principles.

The work of F. Schubert "Margarita at the spinning wheel" sounds

Teacher. What new did you hear in this work?

Children. Here you can hear the trembling melody of Margarita, which reveals to us her innermost thoughts.

Teacher. What genre of music does this piece belong to?

Children. Vocal - instrumental genre.

Teacher. What is the meaning of accompaniment?

Children. The accompaniment conveys the measured buzz of the spindle. This creates a simultaneous vivid visual impression and figurative contrast with its dull monotony.

Teacher. Conclude what type this type of texture belongs to? Children: This type of texture is called a melody with accompaniment.

Writing on the board and in notebooks: melody with accompaniment in the work of F. Schubert "Margarita at the Spinning Wheel".

3. Children listen to a fragment of the organ prelude in C minor by I. Bach

and determine the polyphonic features of the work (polyphony, independence of each voice)

Can you now name the main features of different textures?

6 ... Children organize the assimilation of a new mode of action by pronouncing in external speech.

Teacher: What are the features of the musical texture in each of the listened works?

• 
  In a monophonic work, the role of melody is decisive. It is the main source of information.
• 
  In a two-voice work, the melody is clearly heard and the accompaniment has a pictorial function.
• 
  The polyphonic texture assumes the independence of each voice and the interconnection of all voices.

Determine the type of texture in S. Rachmaninov's romance "Lilac".

Children. Children determine the texture of a piece of music using three cards that graphically depict three types of texture (Appendix 5). Carry out self-test, step by step comparing their work with the standard.

Guys, look carefully at the accompaniment. What does he remind you of? (Hint: On the board, next to the score, there is an illustration of a lilac twig).

Children. The accompaniment is similar to lilac branches.

Teacher. Quite right. And returning to the epigraph of our lesson, did S. Rachmaninov manage to find an original way of presenting the musical language in this work?

Children. Yes, of course, we managed to find the original accompaniment.

8. Teacher. In what types of tasks can the new knowledge gained in the lesson be used?

Children: In all types of tasks that use the analysis of a piece of music.

Teacher: Did we manage to achieve the goal of our lesson today?

Children: Yes, we did.

9. Teacher: What means of musical expression did we meet today?

Children. Today we got acquainted with such a means of musical expression as texture.

Teacher. What is an invoice?

Texture is a way of presenting musical material.

Teacher.

What types of invoices do you know?

Teacher.

And what pieces of music helped us to understand this?

The work of N. Paganini Caprice No. 24; F. Schubert "Margarita at the spinning wheel"; I. Bach Fugue in C minor, S. Rachmaninov "Lilac"

Guys, now try to evaluate your work in the lesson with the help of multi-colored notes. Yellow - I didn’t understand, orange - everything is clear, red - it was difficult, but I did it. (They place their notes on musical staff On the desk). See what an interesting, original texture we got in the lesson from your knowledge.

Homework.

1. Draw those characters or illustrations that you remember from the lesson.

Dmitry Nizyaev

This term in musical theory called the structure of the musical fabric. Sounds a little unintelligible, 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 - just 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 that triad, which "lives" in this moment) and other auxiliary notes - like short scales before some supporting beats. And in the chordal part of the texture - just move the chords back and forth from their "legitimate" moments of time, create a 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 connect shock 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 soft pitching 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. Perfect example 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 use it when picking by ear even today), 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, 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 same 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 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.

Texture in music

(from lat. facere - to do) - a manner of technical and artistic work in musical presentation by composers, for example. F., or work, contrapuntal - in an essay that is distinguished by the independence and relief of each voice; F. harmonic - in which the chord sound combination prevails.

Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron. - St. Petersburg: Brockhaus-Efron. 1890-1907 .

See what "Texture in music" is in other dictionaries:

The Latin word "facturo" means processing, doing, and in figurative meaning device. Perhaps this is the last word and will best define what texture is in music. This is the warehouse itself, the arrangement of the musical fabric, the totality of its elements ... Music dictionary

- (lat. factura doing, creation). 1) a detailed description of the sold goods with the designation of prices; invoice or invoice. 2) plan, processing of parts of a musical work. 3) among the French: register in the authorities. Dictionary foreign words included in the ... ... Dictionary of foreign words of the Russian language

- (from lat. factura processing) ..1) in music, a specific sound image of a work. Texture components timbre, register position, voice leading, etc2)] fine arts the nature of the surface of the work ... Big Encyclopedic Dictionary

INVOICE, invoices, female. (lat. factura work). 1. only units originality artistic technique in poetry, music, painting or sculpture (claim). It is very difficult to imitate the texture of Pushkin's verse. 2. Inventory of the sent ... ... Dictionary Ushakov

- (lat. factura manufacturing, processing, structure, from facio I do, carry out, form; German Faktur, Satz warehouse, Satzweise, Schreibweise manner of writing; French facture, structure, conformation device, addition; English facture, texture, ... … Music Encyclopedia

texture- uh. 1) only units. The originality of artistic technique in works of art. The texture of the painting. Symphony texture. [Lomonosov] was the first to establish the texture of verse, introduced into Russian poem meters inherent in the spirit of the language (Belinsky). 2) only units ... Popular dictionary of the Russian language

- (from lat. factūra processing, structure) the nature of the surface artwork, its processing in the visual arts, the originality of artistic technique in poetry, music, painting or sculpture. Also under the invoice ... ... Wikipedia

s; and. [from lat. factura processing, structure] 1. The nature of processing, the structure of which l. material that define it appearance. Smooth, fleecy f. fabrics. Interesting f. tree. F. glass, granite. Reproduce the texture of marble. Handle... ... encyclopedic Dictionary

- (from lat. factura - processing, structure) in the visual arts, the nature of the surface of a work of art, its processing. In painting, F. is the nature of the paint layer: for example, “open” F. (wide stroke, uneven layer of paint) ... Great Soviet Encyclopedia

This term has other meanings, see Warehouse (meanings). Warehouse (German Tonsatz, French écriture, English texture) in music, the principle of adding voices or / and consonances, refereed by their musically logical and technical compositional function. ... ... Wikipedia

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 aesthetic culture, outlook.

Planned results:

Personal Outcomes

1. Formulation of the emotional attitude to art, aesthetic look on the world in its integrity, artistic and original diversity.

Metasubject Results

Subject Results

- laying the foundations musical culture students as an integral part of their common spiritual culture;

Development of common musical ability 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 perception and analysis musical images;

Expansion of musical and general cultural horizons;

Lesson type: generalizing.

Methods: for its intended purpose - the application of knowledge, creative activity;

type cognitive activity– partially search, 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, light 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 bright and sunny, the movement of the musical texture is swift, seething, covering a huge space, like a powerful and cheerful stream. 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 realm 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 - beauty 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 - either numbly motionless, or 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 spring flower, rapid 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 different kinds invoices.
2. Recall the musical works known to you, in which the texture would be distinguished by vivid depiction.
3. In what musical genres is a significant range of texture space 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"

Musical theory is rich in interesting terms. In each era, new means of improving and individualizing music appeared, which were influenced by composers, performers, and audiences. Many genres and subgenres, styles and themes. In order not to get confused in this, there is a classification of musical compositions according to texture.

Stable musical and artistic whole

To understand further theory, you need to remember or study the concept itself. musical composition. This term characterizes the integrity of the work, its concrete embodiment. Distinguishes the finished "opus" from those created in the process of people's creativity, or improvisations (for example, in jazz).

A composition always has a specific creator. The composer, who provides the sound structure, fixes the work in writing. Notations are carried out with the help of musical notation or accompanying signs. Authorship, starting from the 14th century, is preferably indicated on each created composition, if the creator is known.

The composition is stable, like a finished and well-defined work. Tone, size, rhythm - everything is constant and does not suffer significant changes. Naturally, each work requires certain aspects of performance. This is where texture comes into play.

The concept of texture

The music industry is developing, new canons and new trends appear that affect the style, form and character of the composition. So, texture in music is a presentation of material to the listener in a certain design, which will reflect the reality described by sounds. Texture is the main link between the author's idea and its perception by other people.

The word is Latin in origin, meaning "decoration", "structure", "processing". Texture in music is a visual definition. We can draw an analogy with the creation of a fabric product: musical fabric also requires processing in order to become complete and complete.

What are the different options for?

Each work has a theme and a certain focus. Since the work here is solely on perception, you need to convey emotions and situations as accurately as possible. Roughly speaking - to give a clear picture.

For example, a composer writes a lullaby. There is a melody, an accompaniment, but they could just as well be used in a military song or dance composition. It is necessary to give them a coloring of calmness, silence, lightness. Therefore, jerky strokes will not be used, legato and lower sounds will be given priority. Without "squeak" and sudden movements.

Any emotion can be depicted with an instrument. Whistling flutes will best embody lightness and joy, heavy cellos can show grief and mourning, timpani and bells add epicness. Texture in music is a product of the author's imagination.

The main classification of invoices

The most basic division, the two main types of texture in music, are characterized by the number of voices used.

There is no third?

Unlike many terms that have only two extremes, there is also a heterophonic texture here. This is a kind of “modernization” of a monodic presentation, when polyphonic techniques can be added to it for a more interesting sound. Unison singing is occasionally complicated by a two-voice pattern, the melody is accompanied by rhythm. It turns out that this is an intermediate option.

Types of polyphonic texture

1. Choral texture implies leading all voices according to one rhythmic pattern. That is, the melody moves along the same durations, without being divided into complex harmonic verticals;
2. Mensural canons, or complementary polyphony, are defined by a small layering of voices that are thematically similar but move independently. That is, only the direction of movement of the melody is indicated, in which durations can be divided into several, and the rhythm of one voice does not depend on another.
3. The multi-dark texture creates unusual textured plexuses, combines the incongruous. It became popular only at the beginning of the 20th century.
4. The texture of linear polyphony is based on several voices that do not match in rhythm and harmony. The melody is built on the successive movement of sounds of different pitches.
5. Polyphony of layers - complex polyphonic duplications that create dissonances.
6. “Dematerialized pointillistic texture, which is easier to describe as “jerky”. The main line is transmitted not in the form of a motive, but in jerky sounds with a large spread. That is, bright flashes of sound jump between large pauses.
7. The texture of polyphonic gravity is completely opposite to the previous one. It represents a full-bodied orchestral sound.
8. The aleatory effect is an element of chance. The composition is based on the "lot" method, when combinations of notes are scattered on the stave. Often, authors write down only the main anchor points, from which the performer will be repelled, and then at his discretion.
9. The texture of sonoristic effects switches attention to the transitions of tones, colors or harmonies. The brightness of the sound is transmitted by noise, a change in timbre. Sound and colorful effects are created.

Harmonization

The combination of "invoice and warehouse" is indivisible. This aspect is harmony. It involves many types of texture, but is also divided into two main ones:

Types of harmonic textures

1. Chord-figurative type - chord sounds are played in turn.
2. Rhythmic type - repeated repetition of a chord or consonance.
3. Duplications - in an octave, in a fifth, other intervals, creating a smooth movement of voices relative to each other.
4. Different types of melodic textures based on giving movement to voices. For example, auxiliary or additional sounds in chords that complicate the composition.

But this is the most general classification, individual points of which are rarely found in isolation. That is, the music is diluted with separate techniques, stylistic features taken from different types of invoices. Each era is characterized by different so-called chips.

The beginning of the path to versatility

The history of the development of texture in music is performance, harmony, orchestration, and most importantly, composition. Some composers have provided a huge impact on the variety of textures in the works.

In the 17th century, receptions and warehouses were quite simple and very logical. A mixture of harmonic and polyphonic textures was used - polyphony with various layouts. Passages and arpeggios were popular. Arpeggiated accompaniment just created the right mood, while not pressing on the ear with the depth of heavy chords. The texture of the accompaniment in this case ideally complemented the main theme and did not need to use other means. I.S. actively used this method. Bach, for example, in the Goldberg Variations. Other composers of the era of romanticism distinguished themselves here: Georges Bizet, Giuseppe Verdi,

A kind of arpeggio "figuration" was often used by Mozart, it sounded active, cheerful and sharp. It is convenient in that it clearly conveys harmonies and creates a certain rhythm without jumps. The music of the Austrian romantic is characterized as light, sunny and unburdened precisely because of its texture. Both broken line and direct figuration were used.

The transition to a bright style

With the introduction of innovations, the expansion of the imagination of the authors of the works, by the 19th century there were at least three times more types of texture. Because the different types mixed, adopted and combined details, completely new musical arrangements. The harmonic warehouse became much smoother and more melodic, and expressiveness was conveyed not by the set of sounds themselves, but by their order and arrangement.

A striking example is F. Liszt, who used mixed textural presentations in plays, for example, "Grey Clouds", and in entire cycles "Years of Wanderings" and "Poetic and Religious Harmonies". The pitch of the chords faded into the background, a texture-timbre appeared, which became widespread with Mussorgsky.

Separately, it is worth noting the music of Chopin, who used the piano texture. Among his favorite tricks were the octave technique and fluent playing of scales. In his waltzes (“Brilliant Waltz”, Waltz in A minor), he spread harmonic figurations, decomposed into long rows of sounds. Such works require high performing technique, but they are easy to listen to and perceive. In the side part of the "First Ballad for Piano", the composer completely introduced the polyphonic warehouse into the harmony.

The period of innovation

The 20th century in art marked the transition from traditional forms to completely new and non-standard ones. Therefore, this era is characterized by a departure from the harmonic and polyphonic texture. It becomes unbound, divided into layers. A wide spread of dynamics and timbres becomes a habit in the works of avant-garde artists K. Stockhausen, L. Berio and P. Boulez. Often there is a controlled aleatoric, that is, an improvised texture. It is limited only by rhythm and pitch limits. This move was supervised by V. Lutoslavsky.

Formation played an important role, because in a torn and scattered texture it is important to maintain a cohesive structure of the composition. Even if poorly distinguishable, the drawing creates an image. How to determine the type of texture in music new era- an open question for art historians, as there are too many interactions and exchanges of techniques.

Emotions, emotions, emotions...

All of the above leads to the fact that what kind of texture there is in music directly determines the emotions and the desired response of the listener. To convey mental states, different registers are used:

• low, transmitting terrible and powerful sounds, displaying mystery or mourning (darkness, night, heavy steps, sounds of a locomotive, rumble of troops);
• medium, which is close to the human voice, inducing calmness and some slowness (narratives, routine, rest and reflection);
• high, stimulating and bright, depending on the instrument, it can be both cheerful and tense (screaming and screeching, trilling birds, bells, fussy movements);

Thanks to this distribution, music can set you at peace, uplift your mood, or make your hair on your head move with fear. And directly the texture solution depends on the one used in main topic register.

Therefore, various types of "fabric" processing of the composition help people to feel the feelings of the composer, to draw pictures of the world in their heads, as it was in the eyes of the authors of the works. Feel lightness while enjoying Chopin's music, militancy in Beethoven's opuses or Rimsky-Korsakov's movement dynamics. Texture in music is a communicator through eras and differences in perception.