2. Diatonic seventh chords.

Organ Concerto in D Minor Vivaldi-Bach

Piano Sonatina, op. 88, no. 3 Kuhlau

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 3. Diatonic chords and secondary dominants in combination.
a. Nonmodulating.

Piano Sonata, K. 333, third movement Mozart

b. Modulating.

“Danza, danza, fanciulla gentile” Durante

264 REFERENCE MATERIALS

B. Sequences can involve linear progressions.
1. By thirds.
Intermezzo, op. 119, no. 3 Brahms

2. By seconds.
“II nocchier nella Tempesta” from Salustia, act 2, scene 9 Pergolesi

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17 Textures

I. Monophonic texture consists of a single line, or lines doubled at the unison or octave, occurring for only one
or two beats or for several measures:

II. Chordal texture consists predominantly of block chords, or all voices moving in the same rhythm.

A. Simple four-voice texture.

B. Simple three-voice texture may be considered a reduction of four-voice texture. Chords are either triads
with no doublings or triads with one tone omitted and conventional doubling (for example, doubled root).
Four-voice texture is often implied by skips in one or more of the lines.

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 C. Multiple doublings are one or more lines doubled at the octave, or expansion to five or more voices.*

D. Keyboard textures are often free, with the texture varying frequently, generally by “filling out” certain
chords or as a result of adding or dropping lines.

III. In a solo with accompaniment, the solo element may be a single line, may be duplicated with parallel inter-
vals, or may be harmonized in close spacing. Note that normal voice-leading procedures are followed in the
accompanying voices, or the voices are implied by a broken chord pattern.

*Much passage work in keyboard music can be related to an elaboration of multiple doublings.

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