The texture of music refers to the organization of the vocal parts of the music. Generally speaking, it can be divided into two categories: single-voice texture and multi-voice texture. A monophonic texture has only one voice, while a polyphonic texture has two or more different voices. Monophonic and polyphonic textures have nothing to do with the number of people participating in musical practice. One person can perform multiple voices, such as playing and singing by himself, "Khumai", etc.; multiple people can also perform single voices, such as playing in unison, singing in unison, etc. The earliest one that appeared in history was single-voice textured music. After that, it developed in two directions: one is single-person multi-part, and the other is multi-person single part, and multi-part multi-part. Single-person multi-part is mainly reflected in the hidden part expression of the melody, while multi-person multi-part is reflected in the different division of labor and collaboration of each part. If a polyphonic voice is called "one person with a thousand faces", then a multi-voice voice is "a thousand people with one face", and a multi-voice voice is "a thousand people with a thousand faces". The writing method of hidden voice is relatively subtle, and in many cases people cannot even recognize it, so it is often ignored by everyone. In vocal music works, due to the narrow range of the human voice, single-person multiple voices generally appear less often, and even if they do appear, they are only two voices at most. Just like an actor, playing two roles in a movie is barely enough. Playing three roles or even more is extremely rare. Even if you have superb acting skills and don't have an authentic pig kidney face, the audience will be disappointed. Will not agree. Due to the wide range of instrumental music, the timbre contrast between each sound area is relatively large, and sometimes you can see the hidden writing method of three or four parts. The development of multi-person mono is not optimistic either. Multiple people play (sing) the same melody together, but the volume is thickened and enhanced. Although they have a certain degree of artistic expression, the people involved always follow others' opinions, cannot show their individuality, and are very frustrated. As time went by, I couldn't help but add some of my own understanding. As a result, everyone sang less neatly, but the overall skeleton was still the same, and it became a type of multi-voice singing - one voice. Different from the development of the first two, the development of multi-person and multi-voice has been vigorous and vigorous. Branch voices are polyphonic parts with relatively low-level technology. They exist in large numbers in folk music and have very important practical significance. Polyphonic parts with higher technical skills have different rhythms and melodies among each part. This kind of music is called "Contrastive Polyphony". Polyphony with higher technology, each part has different melody and rhythm, but also consciously imitates it, which is called "imitation polyphony". These two techniques started with two voices, and later gradually developed into three voices, four voices,... until sixteen voices. However, the comparison or imitation of so many parts is far beyond the hearing of the public, and even some professional musicians cannot reach this level. Generally, the four parts are the level that ordinary working people can understand and understand, which corresponds to the four parts of the human voice (female high, female low, male high, male low), so four-part polyphony has become the most commonly used polyphonic form. Multi-voice imitation is technically difficult; secondly, it is only suitable for expressing bustling and bustling scenes; thirdly, it is suspected of being lazy and effortless. In practice, it is not as effective as multi-voice contrast, so it is gradually marginalized. However, there are also problems with multi-voice contrast. It's easy to fall apart. Each part is a melody, and each part has no priority. Each part wants to be a red flower, not a green leaf, and wants to express itself to the fullest. Just like in a war, everyone is brave and vying for the first place. The chefs all pick up kitchen knives and chopsticks and rush to the front line. But without logistical supply support, how can the army have strong combat effectiveness? A team needs a leader. So, we see that the keynote music appears. The main musical texture is melody plus accompaniment. That is, a main melody with other parts as accompaniment. There are many types of accompaniment: there are long-lasting sounds; there are backgrounds with the same main melody and rhythm; there are also rhythmic or wavy tumbling sound types. The melody is a red flower and the other parts are green leaves. Since the other parts no longer have to bear the main responsibility for the performance, they immediately become relaxed and lively, and appear to be at ease. Everyone performed their own responsibilities and worked together, and the results were very good. The main melody is usually in the high voice, and the highest voice earns the title of "melody part". But sometimes the main melody appears in other parts. Sometimes this is the need for artistic expression, and sometimes it is the result of the player's technical level. In actual works, the main melody part generally does not dominate from beginning to end. It will leave some opportunities for other parts to "show their faces". Even if it eats meat, it has to let everyone drink some soup. More often, it will tolerate the emergence of another, smaller flower - the submelody. This flower not only does not take away its brilliance, but also highlights its bright beauty. Why not? From a technical perspective, going from a polyphonic texture to a tonic texture is a step backwards. But in terms of art, they all have their own merits. In fact, it is a monophonic texture and does not allow multi-voice parts to be used in artistic expression.