Four-voice (SATB) harmonic textures can be applied in a variety of ways in compositions. Here are some of the most common approaches.

A. Monophonic texture

Melody in octaves, implying a harmonic progression.

Sequential arpeggiations implying the underlying harmony.

B. Two-part texture

Soprano and bass only, embellished with nonharmonic tones.

In this example, a rapid arpeggiation of four-part chords with a pedal point or drone in octaves (mm.1-6) concludes with an independent two-voice cadence (mm.7-8).

An intricate example of 1:1, 2:1, and 4:1 species free counterpoint. The two voices imply four voices through the use of arpeggiations.

C. Three-part texture

S, A (or T), and B implying four-part harmony. Embellished with nonharmonic tones.

D. Four-voice Texture

1. Choral Close Spacing

2. Choral Open and Close Spacing

3. Mixed Spacing

E. Enhanced Keyboard Styles

1. Five parts with octave doubled bass

2. Soprano and bass in octaves (orchestral effect), resulting in 6 voices

3. Soprano in right hand, 3-note chord in left hand

An Alberti bass is an arpeggiated left hand pattern often appearing in a register around middle C. The lowest note functions as the bass. The LH is in three parts, with the soprano producing the missing fourth note of the chord.

Variants of the Alberti bass

F. Keyboard Accompaniment to a Fifth Voice

1. Accompaniment doubles the vocal line (first section) or functions independently (second section).

2. Mixed use: Fifth voice at times doubling the soprano line

3. Melody with broken chords in the inner voices and octave-doubled bass, resulting in six parts

4. Characteristic piano accompaniment figures with independent fifth voice in soprano

a. LH in four parts with partially broken figuration

b. LH accompaniment in five parts with octave-doubled bass

Using Different Textures

At first, Zeller harmonizes the melody with broken chords (first example). The repetition is a four-part waltz style accompaniment (second example).