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Chapter 5 Texture

music 1 (Sydney Technical High School)

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CHAPTER

5 Texture
LISTENING TEXTURE results from the way voices
ACTIVITY PIECES and/or instruments are combined in music.
‘Summer Overture’ from Board of Studies NSW 1999, Music 1 Stage 6 Preliminary and HSC Courses, Sydney, NSW.
Requiem for a Dream
by Clint Mansell
(page 112) This chapter will help you to discuss texture in terms of:
‘Unfinished Symphony ’ s¬ the layers of sound and their function
by Franz Schubert s¬ the roles of instruments and/or voices.
(page 113)
‘It’s Gonna Be Good After completing this chapter, check that you understand and can apply the
for You’ following:
by The Hipstones
(page 113)
layers of sound
the function of each layer of sound
‘Tobias’
by Darren Percival the roles of instruments and/or voices in each layer of sound.
(page 119)

ADDITIONAL
SUGGESTED
LISTENING PIECES
‘Magic’
by Ben Folds Five
‘Behind the Wall’
by Tracy Chapman
‘One Big Holiday’
by My Morning Jacket
‘Hand in Hand’
by Joseph Tawadros,
with Bobby Singh

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Texture results from the way voices and/or instruments are combined
Texture is produced by the
in music. It is therefore concerned with the treatment of musical lines in combination of voices and/or
a piece of music. A musical line is called a layer and texture refers to the instruments in music.

combination of these layers, producing either a thin or a thick texture. For A layer is one or a
example, if we hear a solo violinist playing and then hear an entire orchestra combination of musical lines
with its many harmonic and rhythmic layers, the music has changed from a provided by an instrument(s),
voice(s) or any other sound
thin texture to a thick texture. source(s).

The mind map below shows the concept of texture linked to three main
areas. Although layers make up both the density and the type of texture, they
are separated in this mind map, as these are the three main aspects of texture
that should be looked at when analysing a piece of music.

LAYERS

TEXTURE

DENSITY TYPE OF TEXTURE

The main aspects to consider when analysing texture

LAYERS
To analyse the texture of a piece of music, we first need to decipher the types
HSC TIP As discussed
of layers that are present in it and then consider how the composer has
in other chapters,
treated each layer. It can be relatively easy to identify the particular voices or all musical concepts
instruments that characterise a layer, but to analyse texture it is important overlap. If the number of
to identify what these layers are doing. Most of the time, each layer is layers in a piece of music
increases — in other
contributing to the music in a different way. words, if the texture
In this section, we discuss how to identify the number of layers, the role of builds up — there is
each layer and how the layers relate to one another in the music. usually a corresponding
increase in the dynamics
of the piece. The
Number of layers concepts of texture and
dynamics therefore
Listening to some music, it is easy to be overwhelmed by all of the performing overlap.
media that you hear. But if you listen carefully, the layers in the music will
emerge. When you think you have picked out the number of layers in the piece
SOUND BITE 5.1
of music, separate them into the following categories: Single melodic line
s single melodic line SOUND BITE 5.2
s melody with accompaniment Melody with accompaniment
s more than one melodic line SOUND BITE 5.3
s countermelody More than one melodic line
s non-melodic/harmonic lines (e.g. rhythm section or percussion). SOUND BITE 5.4
Examples of some of these can be heard in the sound bites (see also some Countermelody
examples of scores on page 94). You may come across all of these options in a SOUND BITE 5.5
piece of music, so try to specify which layer you are discussing by naming the Rhythmic section

instrument and stating where in the music it occurs.

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Example of a single melodic line (from ‘Amazing Grace’)

Melody of ‘Amazing Grace’: piano accompaniment

One melodic line followed by another line (horizontal melodic lines); excerpt from George Frideric
Handel’s ‘Israel in Egypt’

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melody with accompaniment

more than one melodic line non-melodic/harmonic lines

single melodic line countermelody

Number of layers

Role LAYERS Relation to

each other

Categories for analysing the number of layers in a piece of music

Role of layers
In most music, there are instruments that have a melodic role, others that
have a harmonic role and still others with a rhythmic role. When analysing
texture, we label the layers according to which of these roles they perform.

In a standard rock band, the lead singer and lead guitarist usually fill the melodic roles; the rhythm
guitarist, backing vocals, keyboard player and bass guitarist fill the harmonic role; and the drum kit
and often the bass guitar fill the rhythmic role.

Melodic role
A layer with a melodic role usually leads the piece of music, providing the Melodic role refers to an
main melody. Our ears are drawn to this melodic layer. instrument or voice holding the
A melodic role can provide: melody in a piece of music.
s the main melody
s the main melody in unison HSC TIP In an exam
s the main melody in octaves response, make sure you
specify which layer you
s the main melody, with the melody in harmony (e.g. 3rds)
are discussing and where
s imitation of the main melody across different instruments it occurs.
s a countermelody.

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In the score example on pages 97–9, the trumpets and tenor saxophone
perform the melodic role.

Harmonic role
Harmonic role refers to an
A layer with a harmonic role provides the harmony through a bass line,
instrument or voice holding the chords or a drone (a sustained note).
harmony in a piece of music. A harmonic role can provide:
s a bass line (e.g. a walking bass)
s a constant chordal accompaniment
s a drone.
In the score example on pages 97–9, the trombones, baritone saxophone,
piano, electric guitar and bass guitar perform the harmonic role.

Rhythmic role refers to an

Rhythmic role
instrument holding the rhythm A layer with a rhythmic role can provide a pulse or possibly an ostinato or
in a piece of music. This is riff. A rhythmic role can be non-pitched (e.g. the drum kit) or pitched (e.g. a
usually the rhythm section in
bass guitar riff).
a band or orchestra. Rhythm
can sometimes be held by the It is also important to understand that a layer may have combined roles.
voice, such as in beat boxing. For example, a rhythm guitar and a bass guitar can have both harmonic and
rhythmic roles in a piece of music.
Beat boxing is a percussive
sound produced by the mouth. s A rhythmic role can provide:
The aim for the beat boxing s a basic pulse
performer is to produce beats s an ostinato
that emulate the drum kit or
drum machine. Although pitch
s a rhythmic interest (either as accompaniment or to take over the main part
may be employed in singing of a piece of music).
and also to emulate some In the score example on pages 97–9, the drums perform the main rhythmic
musical instruments, beat
role.
boxing usually has a rhythmic
role.
Number of layers
melodic

Role LAYERS Relation to

harmonic each other

rhythmic

The roles of musical layers

Tone colour role

An instrument may be chosen to provide a particular emotional impact. For
example, a trumpet can create a majestic feel in a piece of music.
It is important to note that while many composers use instrumental layers
to fill melodic, harmonic and rhythmic roles, there are a few exceptions. For
example, placing a cymbal crash at a climax in a piece of music provides a
tonal contrast, but this does not really fall into the category of a melodic,
harmonic or rhythmic role.
A tone colour role can:
s emphasise the musical style, as well as appropriate emotional impact
s emphasise the melody
s provide contrast
s provide unity.

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Hip (excerpt)
CD TRACK 14

W. Cornell Jnr, A. Robertson, D. Wilkins

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An example of a music score with melodic, harmonic and rhythmic roles (excerpt from ‘Hip’)

Relation of layers to one another HSC TIP It is useful

Analysing a layer on its own is important to an understanding of texture. But to draw a diagram to
to give the layer context, we must try to compare it with other layers — that is, map out the texture of
a piece of music. In a
to analyse the relationship of the layers to one another. If we look at a score, diagram, horizontal and/
we can analyse how the layers relate to one another both horizontally and or vertical textures can
vertically (see page 100). be viewed and analysed
more easily.
It can be useful to draw a diagram as a form of graphic notation. The
following is an example (see also page 110).

2’41” 3’10” 3’22”

Verse Pre-Chorus Chorus

Voice Melody Melody

Piano Harmony Countermelody Harmony

A graphically notated representation of ‘Secret Life of Plants’ by Stevie Wonder

A cadence is a sequence
of chords forming a musical
More specifically, vertical texture could take the form of block chords or an ending. These chords are
orchestra playing a cadence using the entire group of instruments. Horizontal named perfect, imperfect,
texture could take the form of one melody following another. plagal and interrupted.

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Eine Kleine Nachtmusik (excerpt)

K. 525

Wolfgang Amadeus Mozart

An example of a score that shows a vertical relationship between layers (bars 1–4) and
a horizontal relationship (bars 5–10) (from Mozart’s ‘Eine Kleine Nachtmusik’)

In an Aural Skills examination, you can try to decipher the melodic,

harmonic and rhythmic relationships between the layers. The example of an
orchestral score opposite shows how the melodic layer (flutes), the harmonic
layer (strings) and the rhythmic layer (snare drum) relate to each other.

Number of layers
rhythmic

Role LAYERS Relation to

each other harmonic

countermelody
Relationships between layers in music

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Bolero (excerpt)
Maurice Ravel

A score extract showing relationships between melodic, harmonic and rhythmic layers (from
‘Bolero’ by Maurice Ravel)

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CONCEPT CHECK ½½½ LAYERS

SOUND BITE 5.6
Concept check — Layers 1 1. Listen to the sound bites and classify each as involving one of the following:
SOUND BITE 5.7 (a) single melodic line
Concept check — Layers 2 (b) melody with chords
SOUND BITE 5.8 (c) more than one melodic line
Concept check — Layers 3 (d) a countermelody.
SOUND BITE 5.9 2. Listen to the sound bites then copy and complete the following table, naming
Concept check — Layers 4 the main instrument in each sound bite and whether the instrument has a
melodic, rhythmic or harmonic role.

Sound bite Instrument Role

SOUND BITE 5.10

Concept check — Role 1

SOUND BITE 5.11

Concept check — Role 2

SOUND BITE 5.12

Concept check — Role 3

SOUND BITE 5.13 3. Listen to the sound bite and discuss the relationship of the layers to one
Concept check — another.
Layer relationship

DENSITY
Density refers to the ‘thickness’ of sound created by layers in a piece of music.

Describing the density

When describing density, identify the thickness in the texture overall and then
in the specific sections of the piece of music. Thick and thin are general terms
to describe texture density. Within these two broad categories some alternative
terms can be used, and there are other musical aspects that can affect texture
density. It is important to note that ‘thick’ and ‘thin’ are relative terms. As with
many concepts in music, when describing this aspect, they need to be given a
context within the piece of music.

Thick density
SOUND BITE 5.14 There are many alternative terms that may be suitable to describe a thick
Thick texture
texture in a piece of music. These alternatives include:
s heavy s loud volume
s dense s many instruments
s rich s solid chords
s solid s few musical rests
s bass heavy s thick-sounding instruments (e.g. the tuba).

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Thin density
Alternative terms to describe a thin texture in a piece of music include: SOUND BITE 5.15
Thin texture
s light s thin-sounding instruments (e.g. the piccolo)
s transparent s many musical rests
s sparse s no harmony
s few layers s broken chord accompaniment.
s soft volume

Overture to The Marriage of Figaro (excerpt)

K. 492
Wolfgang Amadeus Mozart

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An example of a score that shows the texture progressing from thin in bars 8–11 to thick in bars
12–18 (excerpt from ‘The Marrige of Figaro’ by Wolfgang Amadeus Mozart)

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LAYERS

TEXTURE

DENSITY TYPE OF TEXTURE

Thin Thick

Density of texture in music

CONCEPT CHECK ½½½ DENSITY

1. Name three alternative terms to describe a ‘thick’ texture.

2. Name three alternative terms to describe a ‘thin’ texture.
3. Listen to the sound bites. Copy the table below and circle the relevant term for
each sound bite.

Sound bites Texture density

SOUND BITE 5.16 Thick/thin

Concept check — Texture 1

SOUND BITE 5.17 Thick/thin

Concept check — Texture 2

SOUND BITE 5.18 Thick/thin

Concept check — Texture 3

TYPE
The way the layers are put together in a piece of music forms its texture. Like
many other features in music, aspects of texture develop over time and a type
of texture can be related to a particular style of music.
The main types of texture are described as monophonic, homophonic, Monophonic refers to a single
polyphonic and heterophonic. melodic line.

s Monophonic texture refers to a single melodic line. Homophonic refers to a single

s Homophonic texture refers to a single melodic line and a harmony melodic line and a harmony
(accompaniment). (accompaniment).
s Polyphonic texture is created when two or more melodic lines are played or
Polyphonic refers to two or
sung simultaneously. more melodic lines played or
s In a heterophonic texture, two or more lines are played or sung at the same sung simultaneously.
time, with different variations of the same melody.
Heterophonic refers to two or
Heterophony is heard mainly in music outside Western traditional music,
more lines played or sung at
but it is generally relatively rare. It may also be embedded within the other the same time, with different
three types of texture (see page 108 for further explanation). variations of the same melody.

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Texture types may be related to various musical styles as well. Monophonic

HSC TIP Monophonic,
and polyphonic textures, although rare in Western music, are common
homophonic, polyphonic
and heterophonic are features in non-Western traditions, such as Indonesian gamelan and
terms that should be traditional African music.
used only after you
have drawn your own
(a) Monophonic (b) Homophonic
conclusions from
gathering information
on the texture or from
a diagram you have
drawn to gather this
information from the
piece of music.
(c) Polyphonic (d) Heterophonic

Visual representations of monophonic, homophonic, polyphonic and heterophonic textures

LAYERS

TEXTURE

DENSITY TYPE OF TEXTURE

Monophonic heterophonic

HSC TIP Listen for a Homophonic Polyphonic

single melodic line rather
than one instrument or
voice. A monophonic Types of texture. Monophonic, homophonic and polyphonic textures are the three main types;
texture does not heterophonic texture is rarer.
necessarily mean that the
music is simple.
Monophonic
Monophonic means ‘of one layer’, from the Greek monos, meaning ‘alone’ or
‘one’, and phon, meaning ‘sound’. Monophonic signifies that only one line of
Unison refers to two or more
performers playing or singing music is heard at a time.
at the same pitch. They might It is important to note that monophonic need not apply to only one
also be playing or singing an instrument or voice. A monophonic texture may involve:
octave or octaves apart.
s one instrument or voice
SOUND BITE 5.19 s a group of instrumentalists or singers (a choir) in unison.
Monophonic texture from
Monophonic texture was popular in church music of the Medieval period,
Medieval period
although it may be heard in all styles of music. The two sound bites are typical
SOUND BITE 5.20
Monophonic texture from examples of monophonic texture, one from the Medieval period and one from
mainstream/pop mainstream music.

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Homophonic
Homophonic texture is the most common texture type heard in music. With
a melodic layer and a harmonic layer, it is the texture on which most music
is based. When analysing a piece of music, listen for a homophonic texture
before you try to identify a monophonic or polyphonic texture type.
A homophonic texture contains melody and harmony. This should not
be confused with the numbers of instruments. If there is a melody and a
harmony, then the texture type is homophonic.
Homophonic texture can also be heard in much SATB choral music, SATB represents soprano,
where the main melody is usually carried by one voice, with the other voices alto, tenor and bass — that is,
providing the harmony. the four main vocal types that
comprise a full choir.
Examples of a homophonic texture include:
s a singer with accompaniment (most commonly with a piano or guitar
HSC TIP To identify a
providing chordal accompaniment)
homophonic texture,
s a solo instrumentalist, with an ensemble or orchestra providing the listen for melody and a
accompaniment — for example: harmony, rather than the
– a violinist and an orchestra or a string orchestra number of instruments
or voices.
– a rock group with a guitar soloist, with the other group members (e.g.
rhythm and bass guitars, and drums) accompanying
– a jazz band with a saxophone soloist, with the other band instruments SOUND BITE 5.21
(e.g. bass, keyboard, drums) accompanying. Homophonic texture

An example of homophonic texture in music (from ‘The Way You Look Tonight’ by Jerome Kern)

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It is interesting to note that certain instruments, such as the piano accordion

and the bagpipes, can provide their own homophonic texture. Each single
instrument can provide accompaniment (in the form of a drone or chords)
while the melody is played on the keyboard (accordion) or through the pipes
(bagpipes).

Polyphonic
Poly derives from a Greek word meaning ‘many’. A polyphonic texture is one
in which the layers are intertwined and mixed. This does not necessarily
result in a ‘mess’ of sound, although it can. Another clear sign of a polyphonic
texture is that it is difficult to anticipate where the piece will end, as usually no
particular layer leads the piece.
A fugue is a composition for
In the case of a fugue, which is a common example of polyphonic texture,
a group of instruments or the ‘subject’ is the driving force, with other musical lines maintaining it.
voices based on a musical With this type of texture, each layer competes for the listener’s attention. In
subject that is repeated in
a polyphonic texture.
polyphony each melody can exist on its own, and all are of equal importance
and interest. An example is shown opposite.
In the chapter on pitch (see chapter 2, page 31), we learnt about
countermelodies. Polyphonic texture is the treatment of many
countermelodies simultaneously. The polyphonic texture type originated in
the Renaissance period, when each (usually vocal) part had a melody. The
melodies of all parts were performed at the same time, yet all fitted together
harmonically.
This use of the term polyphonic should not be confused with its use in
HSC TIP For a
relation to mobile phone ringtones, where it simply means many instrumental
polyphonic texture,
listen for two or more layers that sound like real instruments. Ringtones are actually homophonic in
instruments with texture type, as other textures would not suit today’s ears.
independent musical
A polyphonic type of texture may be:
lines.
s a piece of music with independent instrumental and/or vocal lines, such as
in
– canons, rounds or fugues
– some pieces from the Baroque musical era
– sections of a large ensemble work, orchestra or band
SOUND BITE 5.22 s homophonic textures that develop into polyphonic textures, such as in
Polyphonic texture – mainstream music when the singer adds vocal licks above an existing
accompaniment that is melodically based
– countermelodies.

Heterophonic
SOUND BITE 5.31 A heterophonic texture is one in which the same melody is performed at the
HSC TIP To
Polyphonic identify
texture, same time by more than one instrument or voice, but with different variations
heterophonic
mainstream musictexture,
listen for the same of the same melody.
melody played by two This texture is most common to cultures of the Middle East, China,
or more parts, with
Indonesia, Ireland and certain parts of Africa. In cultures where heterophony
elaboration in one part.
grew, it was mainly due to improvisation. Consider a Greek village tavern
where a solo violinist is playing a traditional melody, and then a clarinettist
casually joins in, playing the same melody but embellishing it. The result is
a heterophonic texture. In this context we can understand how this texture
type grew.

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Missa Da Pacem — Kyrie (excerpt)

Josquin Desprez (c. 1440–c. 1521)

An example of a score showing polyphonic texture (from ‘Missa Da Pacem — Kyrie’ by Josquin
Desprez)

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Heterophonic texture can be Heterophonic texture is rarer in Western music than monophonic,
heard in the chorus of the homophonic or polyphonic, and may or may not be heard as a texture by
gospel hymn ‘His Eye Is on
the Sparrow’. itself. Heterophonic texture may be combined with any of the other three
main texture types; for example, a homophonic texture and a heterophonic
texture may be combined in one piece of music. In Turkish music, you may
hear a heterophonic texture by itself.
SOUND BITE 5.23 A heterophonic type of texture may be:
Heterophonic texture s a melody played by two instruments (e.g. violin and clarinet), with one
instrument embellishing the main melody with ornaments that are
characteristic of that instrument
s music outside the Western tradition in which the main melody is doubled by
an instrument(s) or voice(s) with embellishments
s a fugue
SOUND BITE 5.24 s Indonesian gamelan.
Concept check —
Texture type 1
SOUND BITE 5.25
CONCEPT CHECK ½½½ TEXTURE TYPES
Concept check —
Texture type 2
Listen to each sound bite and identify whether the texture type is monophonic,
SOUND BITE 5.26 homophonic, polyphonic or heterophonic.
Concept check —
Texture type 3
SOUND BITE 5.27
Concept check —
Texture type 4 GRAPHIC NOTATION
Composers started using graphic notation around the beginning of the
twentieth century, and it plays a significant part in the Music 1 course. As we
saw in chapter 1 (page 11), graphic notation is a useful tool for your HSC Aural
Skills exam as it helps you to express your answer in a visual way. However,
in relation to texture, we think of graphic notation as a diagrammatic way of
mapping out the layers in a piece of music. By drawing and referring back to a
HSC TIP In a Music 1 diagram, you may be able to draw conclusions regarding the texture of a piece
Aural Skills exam, you are of music. It is an effective way to analyse the layers, density and type of texture
strongly recommended of the particular excerpt you are studying. The following is an example of such
to graphically notate, or
express your answer in a diagram.
diagrams.
1’33” 2’37”
Introduction A A1 Bridge A2

Piano

Cello

Electric guitar

Drums

Percussion

A diagram showing graphic notation of Peter Sheridan’s ‘It’s Five Minutes to Twelve’

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CHAPTER REVIEW
AND LISTENING ACTIVITIES

Mind maps are a way of visualising information. This mind map shows the
HSC TIP Mind maps
features of the concept of texture that can be applied to any listening piece. It
are a useful revision tool
is a useful revision tool for the HSC Aural Skills examination. for the HSC Aural Skills
exam.

melody with accompaniment

more than one melodic line non-melodic/harmonic lines

single melodic line countermelody

Number of layers
melodic rhythmic

Role LAYERS Relation to

harmonic each other harmonic

rhythmic countermelody
TEXTURE

DENSITY TYPE OF TEXTURE

Thin Thick Monophonic heterophonic

Homophonic Polyphonic

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LISTENING ACTIVITIES
1. Copy and label the blank mind map below from your understanding of
what you have learnt in this chapter. Put the relevant words you have learnt
on the branches provided.

TEXTURE

CD TRACK 15 2. Your teacher will play a listening excerpt.

(a) Using the mind map that you labelled in question 1, circle what you
hear.
(b) Collate what you have heard and, on a separate piece of paper, answer
the following question based on the same listening: ‘Discuss the use of
texture overall in the excerpt’.
3. Apply the knowledge learned in this chapter by finding a piece of music and
analysing all aspects of texture.
4. Find:
(a) a piece of music that has a thick texture
(b) a piece of music that is monophonic
Weblink: (c) a piece of music that uses a heterophonic texture.
Bobby McFerrin
5. Class performance. Log on to [Link] and access the Bobby
McFerrin weblink for this chapter.
(a) Find out how Bobby McFerrin arranged the voices in each layer of the
song ‘Don’t Worry, Be Happy!’ by following the instructions and listening
to each layer singly then together.

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(b) In groups of seven, use the score for the seven layers to perform the
song ‘Don’t Worry, Be Happy!’ Bring in each layer one at a time, allowing
four bars of performance before the next one enters.
(c) Listen again to the composition built up in the performance by Bobby
McFerrin and compare your performance with his.

6. Music technology. Using sequencing software — for example, ‘Acid Music

Studio’ by Sonic Foundry (a free downloadable template is available on the
internet) — create a composition in any style for which you have the loops.
Your composition should have various types of texture and layers. Describe
your composition to the class in terms of layers and the movement of the
layers within the piece of music.

7. Score reading and listening. Listen to the excerpt your teacher will play CD TRACK 16
while following the score excerpt on pages 114–18. Answer the following
questions in relation to the excerpt.
(a) How many layers are seen and heard in the excerpt provided?
(b) What is the role of the oboes and clarinets when this layer enters?
(c) Explain the relationship between the double bass, cello and viola, and
the violin parts.
(d) Name and describe the density in bars 1–8.
(e) Name the types of texture used in the excerpt (monophonic,
homophonic, polyphonic) and explain (in bar numbers) where these
texture types are heard.
(f) Comment on the use of texture overall and the effectiveness of this for
the listener.

8. Listen to the excerpt your teacher will play and answer in extended point CD TRACK 17
form the following questions related to texture.

Layers
HSC TIP You may
(a) Identify the layers in this excerpt.
be asked a question
(b) Label each layer as: on ‘layers’. Here you
s single melodic line are being asked about
s melody with accompaniment the concept of texture
and need to interpret
s more than one melodic line the question to fit this
s countermelody concept.
s non-melodic/harmonic lines (e.g. rhythm section/percussion).
(c) What is the role of each layer (melodic, harmonic or rhythmic)?
(d) Describe the relationship between each layer.

Density
(e) Describe the density of the texture.

Type
(f) Label the type of texture used in the piece of music. Comment on the
overall type(s) of texture, as well as on particular sections of the piece of
music.

Diagram
(g) Demonstrate visually your understanding of texture in this piece by
drawing a diagram to represent the layers heard in the music.

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Excerpt from Franz Schubert’s ‘Unfinished Symphony’

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HSC-STYLE QUESTION
An excerpt (2 minutes 12 seconds) from ‘Tobias’ by Darren Percival will be CD TRACK 18
played SIX times for you to answer this question.

Time: First playing short pause

Second playing 30-second pause
Third playing 1-minute pause
Fourth playing 1-minute pause
Fifth playing 2-minute pause
Sixth playing 2-minute pause

Discuss the use of texture in this excerpt.

PAST EXAM QUESTIONS

s Identify the layers of sound, and describe how they are used. (2003 and
2007)
Board of Studies NSW, HSC Music 1 Aural Skills Examinations

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