The_Complete_Idiot%27s_Guide_To_Music_Theory
The_Complete_Idiot%27s_Guide_To_Music_Theory
The_Complete_Idiot%27s_Guide_To_Music_Theory
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194<br />
Part 5: Embellishing<br />
Definition<br />
<strong>The</strong> word counterpoint<br />
comes from the Latin<br />
punctus contra punctum,<br />
which means “note against<br />
note.” When a second<br />
melodic part is added to<br />
an existing one, the new<br />
part is said to be “in counterpoint”<br />
to the first part.<br />
Note<br />
<strong>The</strong> dean of contrapuntal<br />
writing was Johann<br />
Sebastian Bach, although<br />
many classical composers<br />
utilized this particular musical<br />
form. Bach was<br />
known for his three- and<br />
four-part counterpoint, in<br />
which any of the parts<br />
could be the lead part.<br />
Making a Point—with Counterpoint<br />
Counterpoint is simply the art of combining two or more simultaneous musical<br />
lines. Unlike the art of harmony, where the harmony parts are subsidiary to the<br />
main melody, both melodic parts in counterpoint have equal weight.<br />
<strong>The</strong> two voices in traditional counterpoint must not only sound melodic when<br />
played separately; they also must fit together harmonically to suggest the chord<br />
structure of the song. That means if you play the underlying chords against the<br />
counterpoint, the melodic lines mustn’t sound dissonant; it also means you<br />
should be able to deduce the underlying chord structure from the melodic lines<br />
alone.<br />
Sounds like a tall order, doesn’t it? Creating effective counterpoint is kind of<br />
like working with a musical puzzle, creating two melodies that not only fit with<br />
the song’s chord progression, but also sound good when played together. Mastery<br />
of contrapuntal technique is definitely something that separates novices from<br />
more experienced musicians.<br />
Key to successful counterpoint is the interaction of the different voices. (And<br />
when I say “voices,” I mean melodic lines; counterpoint can be used in both<br />
vocal and instrumental music.) <strong>The</strong> two lines have to work together; not fight<br />
with each other. <strong>The</strong> second line has to be the melodic equal of the first, and<br />
neither line should dominate.<br />
All of this is harder to do than you might think.<br />
Classic two-part counterpoint, courtesy of Johann Sebastian Bach—notice the independence of the two melodic lines.<br />
It’s also important that both lines be singable. That means either melody<br />
should be able to stand on its own as a main melody against the underlying<br />
chord progression. A melody in counterpoint should not be just a combination<br />
of notes to fit the chords; it has to be melodic, it has to have its own internal<br />
musical logic, and it has to fit with the other melody.<br />
When composing melodies for counterpoint, call upon the skills you learned<br />
back in Chapter 8. Make sure each melody has a shape and a destination, as<br />
well as a coherent form. Also make sure each melody makes sense within the<br />
song’s general chord structure, it fits within a comfortable vocal or instrumental<br />
range (generally no more than an octave range), and the intervals within the<br />
melody are small and singable.