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4.3 chordal texture
A chord’s rhythmic role creates its “chordal texture,” which can be broken into four categories: pads, punches, ostinatos, and riffs. Rhythms from each category can exist at the same time in a song as long as the instruments playing them differ in range, volume, and number of voices in a chord.
Rhythmic Roles
PADS
Pads are chords with a long duration. The attack of a pad can occur at the same time as the kick, and the release can happen at the same time as a kick or snare. Pads are frequently played at the start of a chord and end when the chord changes
PUNCHES
A punch is a chordal rhythm with a short duration. Punches generally are at the same time as snare attacks, but they can also happen at the same time as the kick. Punches can also have no link to the drum beat and, by doing so, add more overall rhythmic interest to a song. A guitar playing with the snare on beats two and four is a classic example of a punch. One instrument can play both pads and punches or the roles can be shared between more than one instrument.
OSTINATO
An ostinato is a one- to two-measure repeated rhythmic figure that is usually quieter in the mix. One or more voices of the chord can be used in an ostinato to create sparse or dense textures.
RIFF
A riff is a two- to four-measure repeated rhythmic figure that is usually louder in the mix. One or more voices of the chord are used with syncopation, repetition, and space to create melodic-sounding phrases. The riff below is four measures long and has a repetition pattern of ABAB.
harmonic texture
The rhythmic roles being played at a given time are referred to as the harmonic texture. In pop music, harmonic texture changes when sections of a song repeat. The first verse of a song might only have a guitar part strumming chords (ostinato). The second verse might add a piano part playing long chords (pads). When few chordal instruments are playing rhythmic roles, the texture is “thin.” When there are many chordal instruments playing rhythmic roles, the texture is “dense.” Rhythmic roles are combined in the examples below.
THIN HARMONIC TEXTURE | PADS + OSTINATO
DENSE HARMONIC TEXTURE | PADS, OSTINATO, PUNCHES + RIFF
Listen
EAR TRAINING
Identify the harmonic textures in this Wedding Party Playlist. Be sure to note the following:
Which chordal instruments are playing in specific sections?
What chordal roles are each instrument fulfilling?
Where in the mix is each instrument?
Parts that are louder are in the front or forward in the mix.
Parts that are softer are in the back or backward in the mix.
Write
1 WRITE A CHORD PROGRESSION
Put the vocal line in cycle mode and test out different Chord Progressions with various Harmonic Rhythms.
Record a scratch track of the chord progression using a keyboard instrument.
Copy the chord progression down on the Harmonic Texture Organizer →.
2 WRITE AND RECORD THE DRUM AND BASS PARTS
Choose complimentary drum and bass sounds.
Compose and record a drum groove and bass line starting that goes along with the scratch chord part.
Write your drum and bass part down on the organizer.
Quantize the performances to the correct subdivision, trim the ends of the notes of the bass line, check note velocities to make sure they are even, and mix the volumes between the two tracks.
3 WRITE AN OSTINATO
Select a sound for the ostinato part.
Find a range that is different than the scratch track.
Loop the drums, bass, and scratch chord part and experiment with different sequences of chord tones to create an ostinato.
Not all voices need to be used at the same time.
The sequence and rhythm of the part should be in the same in every measure.
Copy down the ostinato part in the organizer.
Record
4 RECORD THE PAD
Know the expectations! Review the Rubric →
Rerecord the scratch pad and/or add optional punches.
Quantize the performance, trim the ends of the notes to the desired length, check the velocities of each chord tone, and balance the mix.
5 RECORD THE OSTINATO
Practice the ostinato part until you can play it with muscle memory.
Record the part while making sure the subdivision is even and the notes are being played with similar volumes.
8 EDIT & MIX
Quantize the performance to the corresponding subdivision.
Trim the ends of the notes to the correct note value.
Check the velocities of each note.
Listen to all of the parts together and adjust the volumes to create a cohesive mix.
Reflect on how you did with the Self Assessment →