Just like there are various textures of clothes, hair, or food, there are also different textures in music. When we talk about texture, we refer to how many instruments or voices are performing concurrently and how their collective timbres, density, and pitch range all align.
The main types of texture in music are monophony, homophony, and polyphony.
Breaking down the Greek 🇬🇷 base on the words, mono means: one. Phony means: sound.
Monophony: one sound played or sung simultaneously. An example of monophony is plainchant (also often referred to as Gregorian chant). Here is an example of plainchant in its original written form:
Similarly to monophony, homophony, Greek for "same sounds", has one note or voice playing at the same time, but the harmonies are filled out for each change of note. As example of this would be a church hymn, such as this hymn, "O Great Thou Art":
While monophony and homophony have only one musical line going at one time, polyphony, or "many voices" has multiple melodic lines occurring simultaneously.
Here is an excerpt from Händel's aria, "Ye Verdant Plains"
Similarly to monophony, homophony, Greek for "same sounds", has one note or voice playing at the same time, but the harmonies are filled out for each change of note. As example of this would be a church hymn, such as this hymn, "O Great Thou Art":
While monophony and homophony have only one musical line going at one time, polyphony, or "many voices" has multiple melodic lines occurring simultaneously.
Here is an excerpt from Händel's aria, "Ye Verdant Plains"
Counterpoint
We saw that music started with mostly monophonic tunes, and then slowly evolved into primarily homophonic and then polyphonic pieces. In Western musical history, this evolution necessitated that certain musical rules were created and followed so as to make sure that music sounded good and pleasing to the ears. This evolution can be seen through contrapuntal music. Counterpoint was developed in the Baroque era.
Generally speaking, a counterpoint is a melodic or rhythmic line that is harmonically interdependent with a main melody, but provides a distinct and independent voice. Counterpoint is an important element of many forms of Western classical music, such as fugues and choral music, and it has also been used in many other musical traditions around the world.
In Western classical music, counterpoint is typically based on the principles of tonality, in which certain pitches are considered more stable or "tonic" than others. This creates a sense of tension and resolution as different voices move against or with each other in relation to the tonic.
If something is considered contrapuntal, it refers to the practice of composing polyphonic music, often using historical conventions, and the texture that results. J.S. Bach is most famous for his writing in counterpoint. His many children, who also became composers, used counterpoint too!
There are several species of counterpoint that correspond to the historical development of musical rules. At first, musical rules were very strict, and there was very little leeway for creativity. As time went on, composers started breaking these rules, and the guidelines became more relaxed. This process of breaking rules to develop new musical styles happens in musical history all the time, even after counterpoint was developed!
General Counterpoint Rules
There are some rules that apply to counterpoint regardless of which species of counterpoint we are using. In general, contrapuntal music wants to achieve the following:
- Consistency: The voices should be consistent in terms of their rhythms, melodies, and harmonies. This means that each voice should have a clear and distinct character, and the voices should work together to create a coherent musical texture.
- Balance: The voices should be balanced in terms of their relative importance and independence. This means that no one voice should dominate the others, and each voice should be able to stand on its own as a melodic or rhythmic line.
- Contrast: The voices should be varied and interesting, and should provide a sense of contrast and variety within the overall texture. This can be achieved through the use of different melodies, rhythms, and harmonies.
- Progression: The voices should move forward and develop over the course of the piece, avoiding static or repetitive patterns. This can be achieved through the use of melodic and harmonic motion, as well as through the use of varied rhythms and textures.
- Clarity: The voices should be clearly audible and distinct from one another, and the overall structure of the piece should be easy to follow. This can be achieved through the use of good voice leading, which refers to the way in which the voices move from one pitch to another.
There are also some more specific rules that all species of counterpoint have to follow.
- The beginning and the end of the counterpoint have to be perfect consonance (i.e. perfect octaves or perfect fifths). If you are approaching the tonic from below, you should raise the leading tone
- You should prefer contrary motion (one voice going down and one voice going up, or vice versa) or oblique motion (one voice staying the same and one voice going up or down). Perfect consonances should always be approached by contrary or oblique motion
- You should try not to go beyond an interval of a 10th between the two voices
- You should always avoid the tritone
- The line opposing the cantus firmus (the bass line) should have a “high point,” preferably on a strong beat
- If you have a skip in one direction, you should follow it by a step in the opposite direction.
Wow! These are a lot of rules! Don’t sweat it too much – the rules will get easier to follow as you keep practicing writing counterpoint. You will not have to write counterpoint from scratch in the AP exam, but these rules form the basis for the voice leading rules that you will have to know by heart.
Let’s look at an example:
Image via Wikipedia
Notice how the bass line is its own independent musical line, and the top line is also independent. However, they are combined in such a way that they sound good together. This is a very simple example of contrapuntal music, but there can be even more complex melodies. A fugue is also considered a form of counterpoint.
Contrapuntal Species
But wait… there are more rules! Counterpoint is divided up into species, each of which has its own rules and stylistic guidelines (on top of the rules that we already mentioned).
First species counterpoint is the simplest and most restrictive form of counterpoint, as it allows for very little melodic or rhythmic variation. In first species counterpoint, all of the notes sound together on strong beats, and so you only use whole notes.
There are several rules that are typically followed in first species counterpoint, including:
- The cantus firmus must be in a stable key, and the accompanying voices must stay within the boundaries of that key.
- The cantus firmus should be in a consistent rhythm, and the accompanying voices should match that rhythm.
- The accompanying voices should not move too far away from the cantus firmus, generally staying within a range of a fifth or sixth above or below it.
- No more than one voice should move by leaps (intervals larger than a second), and these leaps should be avoided when possible.
- The voices should not cross or overlap.
Here’s an example of first species counterpoint
Image via Wikipedia
In second species counterpoint, we follow many of the same rules as first species counterpoint, but we now have two notes in the top line for every one note in the cantus firmus. We should only put consonances on the strong beats, and we can put dissonances on the weak beats. However, we should be careful of parallel octaves and parallel fifths, meaning that two successive intervals, or the downbeats of two successive measures, should not both be fifths or both be octaves.
Third species counterpoint is similar to second species counterpoint, but now there are 4 on 1 melodies. In third species counterpoint, we start introducing melodic embellishments and non-chord tones. We will learn about these in Unit 6!
Other Musical Textures
Outside of the 18th century composition style, another textural device, called call and response, refers to a soloist who is repeated by a chorus. The soloist is the "caller" and the chorus responds.
Many gospel songs rely heavily on the format of call and response, as a genre development of field songs from southern plantations in 17th to 19th century United States.
We also see “call and response” formats in instrumental music. For example, Bach’s inventions frequently employ call and response melodies. Listen to the first invention and see if you can identify this texture.
There are a few more terms we should know that refer to the texture of music.
Have you ever sung the song "Row, Row, Row Your Boat" in a group and had someone else start a bit after you? There can be several groups of singers singing the same song at different times.
This structure refers to a canon when one part is sung or played, and the same musical part is layered on top, but displaced by time. A musical composition that has features of a canon can be considered canonic.
🦜 Polly wants a progress tracker: If you are sitting around a campfire and someone is playing guitar, and the rest of the group is singing the same song together, which kind of texture would this be?
Frequently Asked Questions
What's the difference between monophony and homophony in music?
Monophony = one musical line only. That could be a solo singer or instruments playing the same melody in unison or octaves. There’s no accompanying harmony or independent lines—texture density is just that single melodic line (CED: DES-1.A.1–2). Homophony = one clear melody supported by harmonic accompaniment. Two common types: chordal homophony (voices move together in the same rhythm as block chords) and melody-with-accompaniment (a distinct melody with subordinate chords, arpeggios, or rhythmically simpler parts). Homophonic textures still have multiple parts, but they function to support the main tune rather than create independent melodic interplay. On the AP exam you’ll identify these in both performed and notated examples (DES-1.A). For a quick refresher, check the Topic 2.11 study guide (https://library.fiveable.me/music-theory/unit-2/texture-texture-types/study-guide/A6RcZJWtcKHnp2uenmmJ) and try practice problems (https://library.fiveable.me/practice/music-theory).
How do I identify texture types when I'm listening to a piece?
Listen with a plan—use the CED cues: number of simultaneous lines, melodic character of each line, and how they’re combined. Quick checklist while you listen (30–60 sec): - Count lines: one obvious melody = monophony. Melody plus supporting chords or patterns = homophony. Several independent melodies = polyphony. - Ask how the lines relate: do they copy each other (imitative polyphony—e.g., canon/fugue) or move independently (nonimitative polyphony)? Is one part clearly the tune while others accompany (melody with accompaniment / chordal homophony)? - Check texture features: timbre (instruments separate parts), density/spacing (dense block chords vs. thin, widely spaced lines), and pitch range. - Listen for heterophony: simultaneous variations of the same melody (common in folk/world music) and casual textures like call-and-response. On the AP exam you’ll apply this in aural items (Section I, Part A) and score by identifying terms like homophonic, imitative polyphony, or heterophonic. For extra practice and examples, see the Topic 2.11 study guide (https://library.fiveable.me/music-theory/unit-2/texture-texture-types/study-guide/A6RcZJWtcKHnp2uenmmJ), the Unit 2 overview (https://library.fiveable.me/music-theory/unit-2), and lots of practice questions (https://library.fiveable.me/practice/music-theory).
I'm confused about polyphony vs counterpoint - aren't they the same thing?
They’re related but not the same. Polyphony is a texture type: multiple independent melodic lines sounding at once (can be imitative, like a fugue or canon, or nonimitative). Counterpoint (contrapuntal) is the practice or technique of writing those independent lines—often following historical rules (species counterpoint, voice-leading conventions). So polyphony = the sound/texture you hear; counterpoint = one common method composers use to create that texture. On the AP exam you’ll be asked to identify textures in performed and notated music (DES-1.A). Listen or look for number of lines, whether lines imitate each other, and how they combine (imitative vs nonimitative polyphony, homophony, heterophony). For a quick refresher, check the Topic 2.11 study guide (https://library.fiveable.me/music-theory/unit-2/texture-texture-types/study-guide/A6RcZJWtcKHnp2uenmmJ) and the Unit 2 overview (https://library.fiveable.me/music-theory/unit-2). Practice identifying textures with the 1,000+ problems at (https://library.fiveable.me/practice/music-theory).
What does "melody with accompaniment" actually sound like compared to chordal homophony?
Melody with accompaniment: you hear one clear, dominant melodic line (usually higher) while other parts provide supporting harmony—often rhythmically different and less interesting (arpeggiated figures, Alberti bass, ostinato, block-chord punctuations). The accompaniment outlines chords but doesn’t share equal melodic importance. In chordal homophony, all voices move together in the same rhythm, producing block chords where harmony and rhythm align and no single line clearly dominates. A quick aural test for AP listening (DES-1.A): if one line stands out with independent contour and the rest are background support = melody with accompaniment; if all parts change pitch at the same time/with the same rhythm = chordal homophony. Practice identifying both on the exam’s aural section and in notated scores. For more examples and drills, check the Topic 2.11 study guide (https://library.fiveable.me/music-theory/unit-2/texture-texture-types/study-guide/A6RcZJWtcKHnp2uenmmJ), the Unit 2 overview (https://library.fiveable.me/music-theory/unit-2), and jump into practice questions (https://library.fiveable.me/practice/music-theory).
How do I analyze texture in my AP Music Theory portfolio pieces?
Start by using the CED checklist: DES-1.A asks you to identify texture in both performed and notated music, so always note (1) how many independent lines there are, (2) each line’s melodic character, and (3) how the lines combine (imitative, parallel, chordal, etc.). Practical steps: count voices (monophony = 1), decide if it’s homophonic (chordal homophony or melody with accompaniment), polyphonic (imitative vs. nonimitative), or heterophonic; note counterpoint/contrapuntal features (canon, fugue, organum) and any call-and-response. Also describe timbre, texture density (thick vs. thin), spacing, and pitch range—these affect the overall sound (DES-1.A.1). On the AP exam you may need to name the type succinctly and justify with these cues. If you want examples and quick drills, review Topic 2.11 (study guide) (https://library.fiveable.me/music-theory/unit-2/texture-texture-types/study-guide/A6RcZJWtcKHnp2uenmmJ) and practice with 1,000+ problems (https://library.fiveable.me/practice/music-theory).
What's heterophony and how is it different from the other texture types?
Heterophony is when two or more performers play the same basic melody at the same time but each adds slight differences (ornaments, rhythm, or pitch). Think of a folk tune sung together where everyone decorates it differently—you hear one melodic idea multiplied with small, simultaneous variations. How it’s different: - Monophony: a single unaccompanied line (no simultaneous variants). - Homophony: one clear melody with chordal accompaniment or block chords (melody + accompaniment). - Polyphony: multiple independent melodies happening together (can be imitative like a fugue or nonimitative), where each line has its own contour and function. - Heterophony: not independent contrapuntal lines—everyone’s based on the same melody, so it’s more about texture density, timbre, and micro-variation than contrapuntal counterpoint. On the AP exam you should be able to recognize heterophonic texture in both performed and notated music (DES-1.A.1–2). For a quick refresher, see the Topic 2.11 study guide (https://library.fiveable.me/music-theory/unit-2/texture-texture-types/study-guide/A6RcZJWtcKHnp2uenmmJ). For more review and practice problems, check the Unit 2 overview (https://library.fiveable.me/music-theory/unit-2) and the practice bank (https://library.fiveable.me/practice/music-theory).
I don't understand how pitch density affects musical texture - can someone explain?
Pitch density simply means how many pitches you hear at the same time and how closely they’re spaced—and it’s one of the main things that shapes texture (CED DES-1.A.1). Low density = few simultaneous pitches (monophony or a single melody). Medium density with clear melody + supporting chords = homophony (melody with accompaniment or chordal homophony). High density can be lots of independent lines = polyphony (imitative or nonimitative)—but density alone doesn’t equal polyphony: if many notes move together as chords it’s still homophonic. Spacing and pitch range matter too: tightly spaced notes in a middle range sound thicker and more “full,” while wide spacing or spread ranges sound more transparent. On the AP exam you’ll be asked to identify these in performed and notated music (DES-1.A). Want quick practice: check the Topic 2.11 study guide (https://library.fiveable.me/music-theory/unit-2/texture-texture-types/study-guide/A6RcZJWtcKHnp2uenmmJ) and try practice sets at (https://library.fiveable.me/practice/music-theory).
How do I write about texture types in my listening analysis essays?
In your listening analysis, name the texture first (e.g., “homophony: melody with accompaniment”), then prove it with specific evidence from the CED: number of independent lines, melodic character, how lines combine, and timbre. Say things like “two-part imitative polyphony (canon-like) between violin and flute” or “chordal homophony—block chords supporting a single vocal melody.” Note texture factors: density, spacing, pitch range, and timbre (e.g., sparse high melody vs. dense low accompaniment). If texture changes, describe where and how (measure X: shifts from monophony to imitative polyphony). Use AP terms: monophony, homophony (chordal vs. melody+accomp), imitative/nonimitative polyphony, heterophony, contrapuntal, canon/fugue. On the exam you’ll be asked to identify textures in both aural and notated prompts (DES-1.A). For quick review see the Topic 2.11 study guide (https://library.fiveable.me/music-theory/unit-2/texture-texture-types/study-guide/A6RcZJWtcKHnp2uenmmJ) and practice hundreds of problems at (https://library.fiveable.me/practice/music-theory).
What's the difference between imitative and nonimitative polyphony?
Imitative polyphony: two or more independent melodic lines that share the same motive or phrase, one entering after another—think canon, fugue, or a call-and-answer where voices echo the same idea (same/similar melody at different times). Nonimitative polyphony: two or more independent melodies sounding together that are different in melodic content (they don’t copy each other) but still contrapuntal—each line has its own distinct tune and rhythm. How to tell on the exam (DES-1.A): listen/scan for repeated melodic material across voices (imitation) versus entirely different melodies moving simultaneously (nonimitative). Imitation often produces obvious staggered entrances or clear copies; nonimitative textures feel “contrapuntal” but without echoing motives. Practice spotting these on notated and aural examples in the Topic 2.11 study guide (https://library.fiveable.me/music-theory/unit-2/texture-texture-types/study-guide/A6RcZJWtcKHnp2uenmmJ), review the whole unit (https://library.fiveable.me/music-theory/unit-2), and drill with practice questions (https://library.fiveable.me/practice/music-theory).
Can you give me examples of call and response texture in different music styles?
Call-and-response (a casual term listed in the CED) shows up in lots of textures where one musical line “asks” and another “answers.” Quick examples: - Gospel choir: leader sings a phrase, choir answers with a short riff—melody-with-accompaniment or small-scale imitative texture. - Blues: vocal line answers by guitar lick or short horn response—melody with accompaniment or dialoguing lines. - Jazz (small combo): soloist states a motive, rhythm section or horn replies—often imitative polyphony or melody with accompaniment. - West African/West African–derived music: group call answered by chorus/response, often heterophonic when everyone ornaments the same tune. - Baroque concerto grosso / antiphonal Renaissance music: concertino vs. ripieno or choir vs. choir exchanges—can be imitative polyphony or antiphonal texture. On the AP exam you may be asked to identify these textures in aural or notated examples (DES-1.A). For a quick refresher see the Topic 2.11 study guide (https://library.fiveable.me/music-theory/unit-2/texture-texture-types/study-guide/A6RcZJWtcKHnp2uenmmJ), the Unit 2 overview (https://library.fiveable.me/music-theory/unit-2), and practice questions (https://library.fiveable.me/practice/music-theory).
How does timbre influence texture and do I need to mention that in my analysis?
Timbre matters because it helps shape how you perceive texture. The CED (DES-1.A.1) says texture is influenced by how music is produced—the distinctive qualities of sound—along with density, spacing, and pitch range. So when you listen, different instrument timbres can make two simultaneous lines stand out as separate (polyphonic/contrapuntal) or blend into one sonority (homophonic or chordal). For score-based analysis, timbre isn’t written, so you focus on number of lines, melodic character, spacing, and range; for aural prompts, mention timbre if it changes your identification (e.g., a bright trumpet doubling a melody vs. warm strings providing accompaniment). On the exam, aural questions expect you to use timbral clues when relevant (Section I, Part A). For quick review, check the Topic 2.11 study guide (https://library.fiveable.me/music-theory/unit-2/texture-texture-types/study-guide/A6RcZJWtcKHnp2uenmmJ) and practice lots of listening on Fiveable (https://library.fiveable.me/practice/music-theory).
What's a canon and how do I spot canonic texture when listening?
A canon is a type of imitative polyphony where one voice strictly or loosely copies another at a fixed time interval (and sometimes at a fixed pitch interval). Think of a round like "Row, Row, Row Your Boat": the same melody enters staggered in different voices. Canonic texture = imitative polyphony and is labeled canonic/canons in scores (CED: DES-1.A, imitative polyphony). How to spot it when listening: - Listen for the same melodic phrase repeated by another voice shortly after the first (staggered entrances). - Check whether the copy is exact (strict canon) or altered (inversion, augmentation, diminution, or at a different interval—those are canonic techniques). - Notice overlapping lines that maintain independent melodic contour (not just chordal support). - If multiple voices keep repeating the same tune at fixed offsets, it’s almost certainly a canon. On the AP exam you may be asked to identify canonic/imitative textures aurally or in a score (DES-1.A). For more practice and examples, see the Topic 2.11 study guide (https://library.fiveable.me/music-theory/unit-2/texture-texture-types/study-guide/A6RcZJWtcKHnp2uenmmJ) and try practice questions (https://library.fiveable.me/practice/music-theory).
I'm struggling to hear the difference between homophonic textures - any tips?
Think of homophony as “one main line + everything else supports it.” Quick steps to train your ear: 1. Find the melody: hum or sing what stands out. If one line clearly carries the tune, you’re likely in homophony (melody with accompaniment). 2. Check the other parts: if they move together as block chords or provide harmonic support without independent melodic motion, it’s chordal homophony. If they have busy independent rhythms or competing melodies, it’s polyphony, not homophony. 3. Listen for texture clues from timbre, density, and spacing (CED DES-1.A.1). Sparse spacing and a clear soprano line = melody with accompaniment; tightly spaced simultaneous notes = chordal homophony. 4. Practice: take short clips, sing the melody, then listen only to accompaniment. Repeat 10–20 times, compare with the score if available. These aural skills are tested in Section I, Part A (aural). For guided practice and examples, check the Topic 2.11 study guide (https://library.fiveable.me/music-theory/unit-2/texture-texture-types/study-guide/A6RcZJWtcKHnp2uenmmJ) and try practice questions (https://library.fiveable.me/practice/music-theory).
How do I describe contrapuntal texture without just saying "it's polyphonic"?
Don’t just write “polyphonic”—describe what makes it contrapuntal. Say how many independent lines there are, whether they’re imitative (canon, fugue-like entries) or nonimitative, how melodic each line is, and how they interact (contrary, parallel, or oblique motion). Mention texture factors from the CED: timbre (which instruments sing each line), density/spacing (close- or wide-voiced), and pitch range (do parts overlap or stay in distinct ranges?). Give one concrete detail: e.g., “Four-part contrapuntal texture: imitative entrances at 2–4 measure intervals, voices move mostly in contrary motion, with frequent independent melodic activity in soprano and alto; fairly thin density (one note per part) and clear register separation.” That’s AP-ready because the exam asks you to identify texture in performed and notated music (DES-1.A). Review examples and practice ID questions on the topic study guide (https://library.fiveable.me/music-theory/unit-2/texture-texture-types/study-guide/A6RcZJWtcKHnp2uenmmJ) and drill with practice problems (https://library.fiveable.me/practice/music-theory).
What should I focus on when identifying texture in both notated and performed music?
When identifying texture, focus on three concrete things every time: how many independent lines you hear/see, what each line does melodically, and how they’re combined at the same time. For notated music: count distinct voices (staves/voices), check melodic character (is there one clear tune with chordal blocks = melody with accompaniment or chordal homophony?), look for imitation/canon markings and staggered entrances (imitative polyphony), note spacing/density and pitch range (wide spacing often separates parts). Use CED terms: monophony, homophony, polyphony (imitative vs nonimitative), heterophony, contrapuntal. For performed music (aural): listen for timbre differences that separate lines, entrances that create independent lines or echoing (call-and-response, fugue/canon cues), whether accompaniment moves with the melody or supplies block chords, and overall density. On the AP exam texture tasks appear in both aural (Section I Part A) and notated (Part B) items under DES-1.A, so practice switching between listening and score-reading. Review the Topic 2.11 study guide (https://library.fiveable.me/music-theory/unit-2/texture-texture-types/study-guide/A6RcZJWtcKHnp2uenmmJ) and try practice questions (https://library.fiveable.me/practice/music-theory).