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Getting Ahead with Creating

Adding a Countermelody

This page has been devised for students who are relatively inexperienced with composition with the simple task of creating a countermelody to an existing work. For the purposes of this activity, the sample shown operates in a basic diatonic structure with predominantly primary chords. Students will have any number of software options in which to create their versions, which may eventually be used for Presenting as a Creator, Experimenting as a Creator or even the Contemporary Music Maker. 

Photo by Marina Dina on Unsplash 

Samples

Warm-Up

10 minutes

Let's begin with some samples of work that include a countermelody in order to assist in the formulation of a definition. Here are some warm-up questions that you may wish to consider: 

  • Where in the structure would a countermelody ordinarily appear? 
  • What is the reason for its placement at that moment? Is it linked with the broader implications of the piece? Emotional peaks? 
  • How are these countermelodies ordinarily formed? What are some musical observations that you can make about them? 
  • Does there need to be rhythmic independence from the main melody in order to fulfil the definition? 

Sample ONE: 

The Killers: Miss Atomic Bomb 

It feels just like a dagger buried deep in your back
(It's a proving ground)
You run for cover but you can't escape the second attack
(And you turn to chance)
Your soul was innocent
She kissed him and she painted it black (on a loser's game)
You should have seen your little face
Burning for love
(Miss Atomic Bomb)

These lyrics have been extracted from: https://www.azlyrics.com/lyrics/killers/missatomicbomb.html
 Portion of the Song "Miss Atomic Bomb" - The Killers
Extracted from the video on YouTube: https://www.youtube.com/watch?v=Qok9Ialei4c&ab_channel=TheKillersVEVO

1. Describe what is happening with these two melodies in this portion of the song. 

2. Where do you think this appears in the song structure? 

 Teacher only box

1. It is essentially two melodies presented more or less simultaneously. There are certainly moments of overlap, but "It feels just like a dagger..." is clearly the main melody (as it is heard earlier in the song) and "It's a proving ground..." acts as the countermelody.

2. This section is part of the outro, fading to the end of the song after this point. 

Sample TWO: 

“Dippermouth Blues” by Joe “King” Oliver

 Portion from Dippermouth Blues by King Oliver's Creole Jazz Band (1923)

Extracted from a recording on YouTube: https://www.youtube.com/watch?v=BEF9QeHxrYw&ab_channel=JoolyOTR

1. Describe what the clarinettist (played by Johnny Dobbs) is doing in this section. 

2. When do you think this section appears in the original structure? 

 Teacher only box

1. The clarinettist provides the countermelody, weaving in and around the main melody.

2. This is the second half of the head. Further countermelodies are offered in the last section as well. 

Sample THREE: 

 Second Movement from Symphony No. 7 in A major, Op. 92 by Ludwig van Beethoven

 Portion from Beethoven's 7th Symphony Second Movement

Extracted from YouTube: https://www.youtube.com/watch?v=mgHxmAsINDk&ab_channel=thehappymonkey

Performed by the London Classical Players conducted by Roger Norrington, 1987.

1. At the 41" mark, two instruments introduce a countermelody (playing in unison) Which string instruments are they? 

2. Where in the movement do you think this occurs? 

 Teacher only box

1. The instruments taking on the countermelody from bar 41 are the violas (previously playing the melody) and one half of the cello section. 

2. This occurs after the first cycle (24 bars), divided evenly as 8 bars (A) and two sets of the B material (also 8 bars). There is also a 2-bar introductory chord. Thus, this first countermelody (there are others later in the movement) occurs from bar 27. 

Some other examples of countermelody in an array of different music styles can be found HERE. 

Developing a Summary: 

Given that you have heard portions from a rock song (The Killers), a classic of Dixieland jazz (Dippermouth Blues) and a mainstream piece of Western Art music (Beethoven), are you able to make some assumptions about the inclusion of countermelodies across these different styles? 

Is there any structural similarity in terms of when the countermelody is included in each of the respective works? 

"Diversity" Photo by Clay Banks on Unsplash
 Teacher only box

You may wish to point out that in each of these cases (and others that are provided in the link above), a countermelody ordinarily appears after at least ONE statement containing the main melody in a relatively 'pure' non-embellished form. In other words, the incorporation of a countermelody typically serves to introduce variety during the repetition of a passage.

In the case of the Dippermouth Blues, there is essentially a countermelody played from the start (melody is clearly heard though), but there is even greater variety through the use of multiple countermelodies in the last chorus. 

Developing a Definition

Attempt to come up with your OWN definition of a countermelody. Include information that expresses its function as well as where it ordinarily appears in the structure of a work. 

You may click on the EYES below to view some other definitions for comparison and reflection: 

A countermelody is a secondary melody that is played or sung alongside the main melody, creating a richer texture in music. It serves to complement the primary melody, often contrasting in rhythm, pitch, or harmony, which adds depth and interest to the musical piece. Countermelodies can be found in various genres and styles, enhancing the overall musical experience by providing additional layers of sound.

  1. They can be used to highlight specific themes or emotions within a piece, allowing for greater expression and contrast.
  2. In orchestration, counter melodies might be assigned to different instruments, allowing each to contribute to the overall texture without overshadowing the main melody.

Countermelody - (AP Music Theory) - vocab, definition, explanations. Fiveable. (n.d.). https://library.fiveable.me/key-terms/ap-music-theory/countermelody

  • A second but subordinate melodic line, sometimes found in music, which has a melody and an accompaniment.
  • A melody designed to fit with another, more important melody.
  • A countermelody could be omitted from a performance, but a principal melody is indispensable.
  • A less important melody that can be played along with the main melody. 

Countermelody. “Countermelody” | Definition on FreeMusicDictionary.com. (n.d.). https://www.freemusicdictionary.com/definition/countermelody/

Attributes of a Countermelody

Here are some ideas (with examples) that you may wish to consider when creating your own countermelody. Attempt to supply your own ideas prior to opening up the "eye". 

Imitation / Call and Response

Definitions can be as follows: 

IMITATION: the same or similar materials are taken from the primary melody and displaced in a secondary one

CALL and RESPONSE: a complementary phrase appears in the countermelody that 'responds' to the melodic 'question' posed in the first. 

 Final Phrase of Scarborough Fair Combined with the Last Phrase of the Canticle

The portion of this audio recording has been extracted from YouTube: 

https://www.youtube.com/watch?v=-Jj4s9I-53g&ab_channel=SimonGarfunkelVEVO

The notated portion from Simon and Garfunkel's "Scarborough Fair/Canticle" has been extracted from Musescore: 

https://musescore.com/endi/scarborough_fair_canticle

This example appears to have both imitation and also a sense of call and response. The countermelody here (the Canticle), "Sleeps unaware of the clarion (call)", not only responds to the phrase, "Then she'll be a true love of mine", but also contains similar contours to the original (starts on E, begins the second bar on A and finishes with the D-E modal-like cadence as well; E not displayed here). 

Intervallic Parallelism 

Here is a remarkable example from Haydn's later symphonic output in which a fragment of the main theme (b.181 in the second violins, BOXED in RED) appears in the recapitulation in imitative form (lower strings begin a bar later), but with a countermelody in the first violins added (BOXED in BLUE). 

 Portion from the Recapitulation from the Fourth Movement of Haydn's Symphony No. 91

Franz Joseph Haydn: Symphony No. 91 in E-flat major, Hob. I/91 (with Score)

Composed: 1788

Performed by Nicolaus Esterhazy Sinfonia

The portion of this recording as been extracted from YouTube:

https://www.youtube.com/watch?v=wr__klNKXW4&t=1176s&ab_channel=symphony7526

This score has been extracted from IMSLP: 

https://s9.imslp.org/files/imglnks/usimg/c/c2/IMSLP927127-PMLP71543-Haydn,_F._J._-_91._Symphony_in_Eb_major,_Hob.I.91_---_Full_Score_(Dover_Reprint).PDF

In bar 187, the lower strings and the first violins are in a sense 'unified', operating in intervallic parallelism with a series of descending 3rds (violin 1s, main line: G-F-E♭-D; lower strings: E♭-D-C-B♭, BOXED in GREEN). 

Note: 

Although these techniques of imitation, call and response, intervallic parallelism, and (later) contrasting rhythms are being addressed separately, it is rare for a composer/artist to explore only one of these techniques within a countermelody.

Haydn, for example, has included imitation, intervallic parallelism and contrasting rhythms (in this case, the exclusive use of quavers/eighth notes; see below for another example). 

Contrasting Rhythms 

Here is a lovely example of where the countermelody is sufficiently distinct from the main (choral) melody. The countermelody, however, which ordinarily functions in a secondary capacity, with its reliance on running triplets as well as its high register, seems here to become more prominent in the texture. 

Here is perhaps an example of Beethoven pushing the boundaries of what is standard. 

 Portion of the Second Theme in the Recapitulation of Beethoven's First Movement from the "Walstein" Sonata

The portion of this recording has been extracted from YouTube: 

https://www.youtube.com/watch?v=lbblMw6k1cU&ab_channel=AshishXiangyiKumar

NOTE:

Unlike the other examples offered, this also appears in the exposition of the first movement. 

This score has been extracted from IMSLP: 

https://s9.imslp.org/files/imglnks/usimg/a/a8/IMSLP51748-PMLP01474-Beethoven_Werke_Breitkopf_Serie_16_No_144_Op_53.pdf

This is again another standard feature of the countermelody in that a good rule of thumb is to have faster rhythms in play when the main theme is slower by comparison (or vice versa). Again, Beethoven presents the theme first in its 'pure' undecorated fashion and then adds this triplet countermelody on the repeat. 

Other Examples of Countermelodies

For other examples from the Western Art canon, you may wish to explore this video, which provides clear explanations and pertinent examples: 

Basic Harmony

If you are going to create a countermelody for a diatonic piece of music (and keep it diatonic), you are going to need to have an understanding of basic chords. 

Here is a simple chorus that has been selected for this purpose, which largely contains the PRIMARY chords. 

This is set in the key of G, which makes the primary chords as follows: 

Chord I: G (G-B-D)  - tonic

Chord IV: C (C-E-G) - sub-dominant

Chord V: D (D-F#-A) - dominant

Chord V7: D7 (D-F#-A-C) - dominant 7th

These are chords that are ordinarily used the most frequently. 

Viewing the chords assigned to the text below, you will see that there are also secondary chords in use temporarily: 

Chord vi: Em (E-G-B) - sub-mediant 

Chord II: A (A-C#-E) - supertonic 

These chords assist in a temporary modulation to the dominant (Em-A-D, BOXED in BROWN). With the inclusion of the D7 that follows, an immediate shift back to the tonic (G) with "A song on high" occurs. 

In this example, the tonic chord (G) also appears with the superscripted term "sus 4" on occasion, which means that the 3rd of the chord (G-B-D), in this case B, is ordinarily withheld by using the 4th instead (C).

In other words, this particular chord (Gsus 4) comprises of G-C-D. This creates tension, and ordinarily the 4th (in this case C) will 'resolve' downwards to its 'regular' position (see boxed below) in the ensuing measures (in this case to B). This is what happens in this particular chorus. 

Normal resolution of a suspended 4th chord: 

              D             D

              C        >   B

              G             G

Chord: Gsus 4        G

Chorus Portion from Tim Manion's Emmanuel

 G    Gsus 4 G       C  G
Emmanuel,     Emmanuel,
         Em               A           D D7 (in preparation for a return to G)
What are we that You have loved us so well?
  G       Gsus 4 G           C    G      D
A song on high, a Savior's nigh, angel hosts rejoice
    C   D    G
Thy glory to tell

This has been adapted from Ultimate Guitar: 

https://tabs.ultimate-guitar.com/tab/tim-manion/emanuel-chords-2555406

Realisation of Chords and Adding a Countermelody

Here is a simple setting (for strings and harp) of the chords indicated above: 

 Simple Arrangement of Tim Manion's Emmanuel for Strings and Harp

Decision-Making on Inclusion of Countermelody

The first decision was to identify the moments in which there was minimal movement in the melody (bars 2 and 4 for example have sustained notes for the entire bar/measure) and ensure that there was a line of interest there in the countermelody. 

Bar 2

* decided to have a quaver/eighth note rest at the beginning of the bar so as not to adversely impact the melodic line (violin 1)

* shape is predominantly stepwise and peaks on D (to align with the chord in play)

* also referred to the suspended 4th in the final two notes by including in the notes A-C

Bar 4

* this is a descending answering phrase that outlines the chord of C

Bar 5

* the inclusion of the note E is an appoggiatura (non-chordal tone approached by leap and resolves by step in the opposite direction) that foreshadows the Em chord that follows 

Bar 6

* again works around the notes of the chord (Em), but also includes another appoggiatura (in line with the shift in the melodic line) 

Bars 7-8 

* the countermelody here is almost exclusively outlining the chords (A and D), apart from some non-intrusive unaccented passing notes

Opening Portion of an Arrangement of Tim Manion's Emmanuel for Harp and Strings with a Flute Countermelody Featured on the Repeat

The Flute Countermelody Outlines the Chords at the Cadence Point (bb.7-8) Strengthening the End of this Section

Bars 9-13

* these bars are identical to the complementary ones at the start of the piece

Bar 14

* this bar is similar to bar 6, but adjustments have been made to accommodate the different harmonic setting (originally a singular Em in this bar)

Bar 15

* This outlines the chord of C, but contains an accented passing note at the start (D) and an accented neighbour note on the second beat

Bar 16

* The final quaver/eighth note in this bar is an example of anticipation, as it arrives at G before the chord changes (to G) 

For more on the types of non-choral tones adopted, you may wish to visit HERE. 

Bove, K. (n.d.). Non-harmonic tones. Kaitlin Bove Music. https://kaitlinbove.com/nonharmonic-tones#:~:text=APPOGGIATURA%20(APP),and%20resolved%20by%20a%20step.

Here is the completed form of the arrangement that includes a four-part vocal setting doubling the string parts. The countermelody, along with standard practice only appears on the repeat. 

Student Task 

Select a piece of music that you think would benefit from the inclusion of a countermelody. Think carefully about when and where in the structure this should appear. 

You should consider all these attributes of a countermelody and the likelihood of combining them: 

  • Imitation / Call and Response
  • Intervallic Parallelism 
  • Contrasting Rhythms

Further, you should carefully consider the harmonic palette in play and the position and resolution of non-chordal notes, both accented and not. Also, consider both horizontal and vertical implications. For example: 

* consider the impact that the countermelody is having on the main melody and position rests and faster/sustained notes as appropriate

* think about some of the broader structural techniques in the music, such as

  • foreshadowing,
  • melodic balancing in the use of antecedent and consequent phrasing,
  • cadence reinforcement, AND
  • repetition and variation
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