 | This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Counter-melody" – news · newspapers · books · scholar · JSTOR (December 2009) (Learn how and when to remove this message) |
In music, a counter-melody (often countermelody) is a sequence of notes, perceived as a melody, written to be played simultaneously with a more prominent lead melody. In other words, it is a secondary melody played in counterpoint with the primary melody. A counter-melody performs a subordinate role, and it is typically heard in a texture consisting of a melody plus accompaniment.
In marches, the counter-melody is often given to the trombones or horns. American composer David Wallis Reeves is credited with this innovation in 1876.
The more formal term countersubject applies to a secondary or subordinate melodic idea in a fugue. A countermelody differs from a harmony part sung by a backup singer in that whereas the harmony part typically lacks its own independent musical line, a countermelody is a distinct melodic line.
See also
References
- Benward, Bruce, and Marilyn Nadine Saker (2009). Music in Theory and Practice Vol. 1, p.138. Seventh edition. Boston: McGraw-Hill. ISBN 978-0-07-310188-0.
- "U.S. Army Bands in History: Civilian Bands Replace Military Bands". Archived from the original on July 21, 2007.
| Accompaniment | ||
|---|---|---|
| Musical instruments |  | |
| Techniques and styles | ||
| Music ensembles | ||
 | This music theory article is a stub. You can help Misplaced Pages by expanding it. |