Counter-melody
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.[2]
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
- Nebenstimme
- Parallel harmony
- Traditional sub-Saharan African harmony
References
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- Acoustic guitar
- Double bass
- Drum kit
- Electric bass
- Electric guitar
- Electric piano
- Hammond organ
- Piano
- Pipe organ
- Alberti bass
- Arpeggio
- Banjo roll
- Bassline
- Basso continuo
- Chord
- Triadic chord
- Power chord
- Comping
- Counter-melody
- Drone
- Figuration
- Fill
- Groove
- Harmonization
- Obbligato
- Ostinato
- Riff
- Vamp
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