STEP 4: TEXTURE
Once you've applied some melodic devices to your motif, it might look something like this:
In this example, I've kept the motif really simple, with a constant 'metronomic' 8th note rhythm. This will make it easier to add other layers later on.
The pattern only varies slightly between the two chords, highlighting the chromatic movement from G to Gb.
STEP 4: USING TEXTURES and contrast (layering)
To put it loosely, texture describes the complexity of the music, the overall pitch range and the density of sounds and ideas. One really powerful way to ensure your music builds in interest (and to keep people listening) is to increase all of these gradually things by bringing in other 'voices' and melodic ideas. This is done all the time in electronic music, and EDM producers often refer to this as 'layering'.
The most common types of texture in music (from the most simple to the most complicated) are:
monophonic texture - a single melodic line, not supported by any harmony
homophonic texture - still a single melodic line, but this time supported by harmony. There's more than just a single line melody happening, but there's only one strong melodic idea. (Someone strumming a guitar while they sing a song, or two singers singing the same rhythm in harmony (ie singing different pitches) are both examples of homophonic texture.
polyphonic texture - two or more melodic ideas competing for the listeners attention
At the moment, our example is a strictly homophonic piece, a single melodic idea supported by chords (harmony). We can increase interest and tension in the piece by bringing in other melodic lines over the top of our existing melody. Here are some ideas to keep in mind when you're introducing polyphonic melodies.
1) Use rhythms that contrast with the rhythm of your existing melody. One powerful approach (known as counterpoint) is to have a call-and-answer between your two melodies (more on this later).
2) Try to keep your second melody in a different pitch range from your existing melody. And try not to cross the parts. In other words, if your second melody starts in a range above the existing melody, try to keep it above the melody all the time. If you start below the original melody, keep it lower the whole time.
3) Use different chord tones from your original melody, and try to land chord tones on downbeats and strong beats (just like you did in your first melodic line).
4) Base your new melodic idea on your original motif, but do something different with it, and use compositional devices to futher develop your ideas
Here is an example:
