Polyphony
15"2&2#8R-)&#a.7(")2&$5#&DE0<[2&C-%F2&-C&.-73.5-)3H&$5#&'-"8#&2$#(7")/&(7/-%"$5FH&$5#&/%(")&
I")*-IH&()*&5-I&$-&F(B#&$5#&K#2$&-C&$5#FP
Forms of polyphony
15#&DE0<&5(2&$I-&C-%F2&-C&.-73.5-)3b
• B62+$(4&KP4.&$Pb&<:Y&/%(")2&.#%&'-"8#
• A&+-5(4&KP4.&$Pb&8-%%#2.-)*")/&$-&.7(3")/&)-$#2b&<<&'-"8#2&($&$5#&RF#&-C&I%"R)/P
•
Voice timbre
M&'-"8#&F(3&5('#&()3I5#%#&C%-F&;&$-&<:Y&/%(")2&.7(3")/&($&()3&RF#P&15"2&(77-I2&$5#&w#a"K"7"$3&$-&
5('#&(&2")/7#&/%(")&.7(3")/&92.-%(*"8(773>&@.&$-&(&F(22"'#&L87-@*N&-C&/%(")2P&e-&(F-@)$&-C&.7(3")/&
)-$#2&I"77&8(@2#&$5#&(F-@)$&-C&/%(")2&$-&K#&F-*"_#*&K3&$5#&#)/")#P&15#&RFK%#&-C&$5#&'-"8#&I"77&K#&
B#.$&")$(8$&(2&F@85&(2&.-22"K7#P
Note hold
15#&DE0<&2@..-%$2&$5#&+XAX&5-7*&44P&U")8#&'#%2"-)&:P<&$5"2&(8$2&7"B#&$5#&2$()*(%*&5-7*&C@)8R-)H&
")2$#(*&-C&J@2$&5-7*")/&.%#'"-@273&.7(3")/&)-$#2P&15($&"2H&(77&)#I&)-$#2&I"77&%#F(")&.7(3")/&#'#)&"C&
3-@%&_)/#%2&I#%#&7"S#*&C%-F&$5#&B#3K-(%*P&15"2&%#F(")2&$5"2&I(3&@)R7&5-7*&"2&$@%)#*&-Z&(/(")P
Voice stealing
V5#)&$5#&DE0<&%#(85#2&F(a"F@F&'-"8#&.-73.5-)3&()*&$5#&@2#%&.%#22#2&3#$&F-%#&)-$#2&-)&$5#&
B#3K-(%*H&"$&I"77&85--2#&$-&(K%@.$73&%#F-'#&$5#&-7*#2$&.7(3")/&)-$#H&.%#C#%(K73&(7%# (*3&")&%#7#(2#H&
$5($&"2&)-$&K#")/&5#7*&9K3&$5#&5-7*&44&#a.7(")#*&(K-'#>P&X$&(72-&F(B#2&85-"8#2&K(2#*&-)&$5#&
.-2"R-)&-C&$5#&)-$#2&-)&$5#&B#3K-(%*&")&%#7(R-)&$-&#(85&-$5#%P&15"2&25-@7*&F(B#&)-$#&.-73.5-)3&
(2&C@77&()*&%#2.-)2"'#&(2&.-22"K7#P&s-"8#&2$#(7")/&8()&K#&*#7(3#*&2"/)"_8()$73&K3&@2")/&MAUE&."7#0@.&
F-*#&")&$5#&.($85&F#)@P
Grain stealing
V5#)&$5#&F(a"F@F&(F-@)$&-C&/%(")2&.#%&'-"8#&9<:Y>&"2&%#(85#*H&$5#&/%(")&285#*@7#%&I"77&2$(77&@)R7&
/%(")2&5('#&%#(85#*&$5#"%&#)*P&15"2&%#2@7$2&")&()&-28"77(R-)&#Z#8$&I5#%#&$5#%#[2&(&K"/&K@)85&-C&
/%(")2&")&-)#&.7(8#&()*&)-$5")/H#I5#%#P&D%(")&2$#(7")/&%#F#*"#2&$5"2&#Z#8$P&X$&I"77&2$#(7&/%(")2&")&
(&I(3&$5($&"2&")(@*"K7#&$-&$5#&@2#%b&)-&8%(8B7#2&-%&87"8B2P&15#&-)73&*%(IK(8B&"2&$5($&"$&97-/"8(773>&
25-%$#)2&/%(")2P&15"2&*#.#)*2&(&7-$&-)&$5#&D%(")&2$#(7")/&$5%#25-7*&2#u)/P&U##&$5#&.($85&F#)@P
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