the texture of a melodic line with harmonic accompaniment is homophonic.
the texture of a melodic line with harmonic accompaniment is homophonic.
the texture of a melodic line with harmonic accompaniment is?
homophonic
section::::structure.:section c- più mosso.









































triple meter is maintained throughout this section. the new tempo indication calls for more forward motion and there is a first appearance of homophonic texture: the melodic line presented over an arpeggiated accompaniment. there is more harmonic interest as the bass line changes to support the melodic motion. 









































section::::structure.:section b- a tempo.









































section b returns. 









































section::::structure.:section a- senza misura.









































section a returns modified and expanded.









































section::::references.









































sheppard, linda. musical overview (1600-2000) : from the history à la carte series. canada : longbow publishing, 2006.
distant memories
in an example of makala, the first melodic line comes, which is what the song is loosely based on. this melodic line repeats in cyclic form and gives an underlying time line and harmonic structure to the composition. the melodic line might not even be voiced. some people might add variations. some might expound by freely outlining the melodic line, which is often done using parallel harmonies. if the singer is using the yodeling style, which is where women shine, she will often stress the end of the expression. melodic lines that are an octave lower is often a men's section. when a dance starts, it is usually men and boys who take support sections. once these support sections have been voiced, others follow in with the main melodic line. in time, most of the onlookers and dancers will join in by doubling sections or adding variations, which might make the main melodic line fall out entirely. all sections, except for the rhythm of the small drum, are substitutable and open to interpretation.
baka music