texture

In terms of texture, eighteenth century music often will often incorporate a single melodic line that is accompanied by a more rhythmically simple harmony. This could be described as melody-dominated homophony. With this effect, the listener is drawn solely to the melodic line, with accompaniment only serving to enhance and support the melody. In this example, taken from the beginning of the third movement, “Vivace,” of Johan Helmich Roman’s Symphony No. 3 in B-flat Major,  the violin I section carries the active melody, while the rest of the strings and the harpsichord play very simple lines that are often in rhythmic unison with each other and only outline the harmony of the music. This texture helps bring attention to the melody of the violin I section while while emphasizing the harmony of the piece.

This is an example of the thin texture preferred in the galant style. It is an excerpt from the 18th century work Sinfonia Concertante for flute, clarinet and orchestra by Franz Danzi. The accompaniment is homophonic and has little activity going on behind the melody. This is a change from the previous baroque style, which often featured dense polyphonic accompaniment.