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Homophony began by appearing in sacred music, replacing polyphony and monophony as the dominant form, but spread to secular music, for which it is one of the standard forms today. Composers known for their homophonic work during the Baroque period include Claudio Monteverdi, Antonio Vivaldi, George Frideric Handel, and Johann Sebastian Bach.
In music, heterophony is a type of texture characterized by the simultaneous variation of a single melodic line. Such a texture can be regarded as a kind of complex monophony in which there is only one basic melody, but realized at the same time in multiple voices, each of which plays the melody differently, either in a different rhythm or tempo, or with various embellishments and elaborations ...
Introduction to Sousa's "Washington Post March", mm. 1–7 features octave doubling [1] and a homorhythmic texture.. In music, texture is how the tempo and the melodic and harmonic materials are combined in a musical composition, determining the overall quality of the sound in a piece.
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).
The third mazurka of this set has homophonic texture, comparable to the previous one. The piece unfolds with very varied dynamics and half-way through, it changes to the key of E major but changes back to the original key for the last few bars and the coda. It doesn’t follow traditional harmonic progressions (giving it a peculiar sound).
Introduction to Sousa's "Washington Post March", m. 1-7 Play ⓘ features octave doubling [1] and a homorhythmic texture. In music, homorhythm (also homometer) is a texture having a "similarity of rhythm in all parts" [2] or "very similar rhythm" as would be used in simple hymn or chorale settings. [3] Homorhythm is a condition of homophony. [2]
First few bars of Mazurka, Op. 7 No. 1. The first mazurka, set in B-flat major and marked Vivace, is the most well-known mazurka of the set and perhaps, one of Chopin's most popular mazurkas in general. The piece is in Rondo form and includes a lively main theme characterized by an upward rise and then downard jumps of ninth intervals.
The minuet features a startling harmonic shift: its second half is suddenly interrupted by a fortissimo D-major chord, far remote from the home key, before a chromatic passage leads back to the dominant of C ♯ major. The trio is linked to the minuet by the rhythmic similarities of their opening motifs.