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In most well-written homophony, the parts that are not melody may still have a lot of melodic interest.

Common indicators for homophony are words relating to sound or speech: “heard,” “to an audience,” “said,” and the like.

At a time when homophony was coming to the fore—melody over accompaniment—Duarte’s contrapuntal interplay of lines would have had a somewhat old-fashioned sound.

The homophony of “Devine” and “the Vine” was, of course, more than mere coincidence.

A melody so accompanied—even though all the notes are not those of the true Bass—or treated with simple embellishments in the upper parts, or with simple chords, used to be called “homophony.”