In both pieces, the composers use individual techniques to create the overall sound, shape and structures of each part. It is also apparent that in both pieces there is a dense texture, as shown by the scarce appearance of rests or pauses. In the Holbourne especially, the texture is rich, with a five part consistency. The parts rarely use long pauses where there are no other melodies other than in occasional pauses such as bars 15, 34, 58 amongst others. The use of constant melody lines, allows for a full and whole sound, giving the impression of a thick texture with no breaks. This is also evident in the Debussy Sarabande. Although it is an arguably sparse texture, with only two parts, the constant busy lines allow for a full sound, and it is only in bars 20-23 and 42-50 where we see a noticeable difference. This is shown by the lack of treble part in bars 20-23 and also the use of just chord accompaniment in bas 42 through to 50, aside from this we see evidence of a continuously dense texture, as shown that at most points there are no less than 5 singular notes playing at once.
Also, in the Holbourne piece, the texture is clearly layered so that each part has a clear and regulated range, with very little crossing of parts. This helps to create a well rounded sound as each individual part is easily identified not only by ear but also by notation. This is not however the same for the Sarabande. Debussys’ use of parallel 7th’s causing an almost entirely homophonic texture. This then often causes an extremely deep and rounded sound, as frequently the chords use six or more notes. Not only this but the short passages including bars 5-6 allow for a subtle but apparent ending of a phrase before introducing a new melodic idea, soon to become the main melody almost acting as a close to an introduction to the main part of the piece.
However, the pieces are similar in the