Workshop 71 — Countermelody and Inner-Line Arranging: Writing a Second Voice That Supports the Tune Without Fighting It
Workshop 70 gave us the full arrangement workflow:
melody → bass → guide tones → inner voices → texture → reharmonization → form.
Now we zoom in on one of the most important arranging layers:
the countermelody.
A countermelody is not just “another melody at the same time.”
Its job is to:
- support the main melody
- fill space without overcrowding
- reinforce phrase direction
- create dialogue
- add motion when the melody is static
- create continuity across chord changes
- help the arrangement sound orchestral rather than chordal
The danger is obvious:
two melodies can easily compete.
The central lesson is:
A good countermelody is independent enough to be interesting, but subordinate enough that the listener never forgets which line is the main melody.
71.1First rule — do not write against active melodyIf the main melody is busy:71.2Think in density complementMain melody:71.3Level 1 — countermelody only during restsTake a phrase with:71.4Call and response is already counterpointWe used this in blues, soul, and New Orleans styles.71.5Level 2 — use chord tones onlySuppose harmony is Cmaj7.71.6Level 3 — approach the next melody noteSuppose main melody is about to land on:71.7This is importantA countermelody should often have its own destination:71.8Level 4 — contrary motionMain melody rises:71.9Level 5 — parallel motionDo not assume contrary motion is always superior.71.10Level 6 — oblique motionMain melody holds G.71.11Three motion typesThink:71.12Level 7 — avoid constant thirds below melodyA common beginner approach:71.13Level 8 — rhythmic independenceMain melody:71.14But keep rhythmic hierarchyIf both lines are constantly syncopated and busy:71.15Level 9 — counterline on weak beatsMain melody emphasizes:71.16Level 10 — countermelody begins after melody attackSuppose melody note lands on beat 1 and holds.71.17Attack hierarchy mattersIf melody and countermelody begin simultaneously with similar register and dynamics:71.18Level 11 — register separationMain melody:71.19Voice crossing can be expressive laterBut it weakens hierarchy.71.20Level 12 — dynamic hierarchyMain melody:71.21RH two-voice exerciseTop:71.22Level 13 — countermelody from guide tonesThis is one of the best ways to begin.71.23AnotherCounterline:71.24Level 14 — embellish guide-tone lineBasic:71.25Guide-tone countermelody is efficientBecause it solves two problems at once:71.26Level 15 — chromatic inner lineHeld main melody G.71.27Do not call every inner-note change a new chordThe line may be the main event.71.28Level 16 — use suspensionsMain melody fixed.71.29Level 17 — delayed resolutionDo not resolve F→E immediately.71.30Level 18 — anticipationCounterline moves early into a note belonging to the next harmony.71.31Staggered harmonic arrival againBass may arrive first.71.32Level 19 — counterline based on motifTake a three-note motif:71.33This is stronger than arbitrary fillsA fill becomes more meaningful if it comes from:71.34Level 20 — extract countermelody from melody DNATake a small interval/rhythm from the main tune.71.35Level 21 — inversion of melody fragmentMain motif rises.71.36Level 22 — rhythmic augmentationMain melody fragment:71.37Level 23 — rhythmic diminutionOpposite:71.38Level 24 — counterline as bassNow move secondary melody into LH.71.39ExampleRH melody rises.71.40Level 25 — add harmony sparingly between two linesOnce RH melody and LH counter-bass work:71.41Level 26 — walking bass as countermelodyA good walking bass is itself a melodic counterline.71.42Level 27 — stride bass as semi-counterlineStride alternates:71.43Level 28 — countermelody in bossaBossa already has:71.44Level 29 — countermelody in funkThink riffs rather than flowing lines.71.45Level 30 — countermelody in balladHere you have more space.71.46Level 31 — countermelody in New Orleans/swingUse:71.47Level 32 — countermelody in waltzMain melody may occupy beat 1.71.48Level 33 — counterline as phrase glueSuppose melody rests between phrase 1 and phrase 2.71.49Level 34 — avoid fill syndromeA fill is not automatically a countermelody.71.50Level 35 — sing both voicesPlay main melody.71.51Level 36 — two-hand independence drillRH:71.52Level 37 — articulation contrastMain melody: legato.71.53Level 38 — timbral illusionOn piano, articulation and register can simulate different instruments.71.54Level 39 — counterline and harmonic rhythmIf harmony changes slowly:71.55Level 40 — one note per chordFast progression:71.56Level 41 — more motion over static harmonyC pedal for four bars.71.57Level 42 — hidden countermelody in chord topsSuppose main melody is played high.71.58Level 43 — hidden countermelody in chord bottomsRH block melody on top.71.59Level 44 — countermelody crossing harmonic boundariesDo not force the line to stop every time chord changes.71.60ExampleOver Dm7:71.61Level 45 — non-chord tones in countermelodyUse:71.62Strong-beat disciplineAs a starting rule:71.63Level 46 — dissonance against melodySuppose main melody:71.64Dissonance needs voice-leadingG over F tension becomes meaningful if F resolves:71.65Level 47 — sixths as semi-independent voicesMain melody and lower harmony in sixths can temporarily act like two voices.71.66Level 48 — block chord opens into counterpointBegin phrase:71.67Level 49 — counterpoint into block climaxOpposite:71.68Level 50 — countermelody and modulationWhen moving up a semitone, as in show-style arrangements:71.69Level 51 — common-tone countermelody through modulationHold one note common to both keys.71.70Level 52 — countermelody as reharmonization triggerSuppose you invent a beautiful line:71.71Level 53 — counterline first, chord symbols laterWrite:71.72Level 54 — melody and counterline interval mapAt important beats, identify interval between voices:71.73Consonance and dissonance arcPhrase beginning: third/sixth.71.74Level 55 — avoid constant parallel sixthsThey are beautiful but can become predictable.71.75Level 56 — unison as structural eventMain melody and counterline merge on one note.71.76Level 57 — octave convergenceTwo voices move toward the same pitch class at different octaves.71.77Level 58 — repeated-note melody laboratoryThis is ideal.71.78Level 59 — repeated-note counterlineReverse.71.79Level 60 — one countermelody per sectionDo not write five.71.80Level 61 — countermelody returnIntroduce a secondary line early.71.81Level 62 — countermelody variation on returnFirst time: single notes.71.82Level 63 — two countermelodies, but not simultaneouslySection A: counterline 1.71.83Practice Loop A — rests onlyTake a tune.71.84Practice Loop B — held-note movementHold one melody note.71.85Practice Loop C — guide-tone counterlineii–V–I.71.86Practice Loop D — contrary motionWrite four-note rising melody.71.87Practice Loop E — motif-derived responseTake one 3-note fragment from melody.71.88Practice Loop F — register hierarchyMain melody high.71.89Practice Loop G — two voices onlyNo chords.71.90Improvisation Challenge 1 — answer every long noteMain melody known.71.91Challenge 2 — guide tones onlyCounterline may use only 3rds/7ths plus one chromatic approach note.71.92Challenge 3 — no parallel motionFor eight bars, every major motion between main and counterline must be contrary or oblique.71.93Challenge 4 — no simultaneous attacksCounterline may never begin exactly when melody attacks.71.94Challenge 5 — one motif onlyCounterline material must derive from one 3-note motif.71.95Challenge 6 — secondary line creates reharmWrite counterline first.71.96Ear Drill — accompaniment or counterline?Play:71.97Ear Drill — hierarchyRecord two voices at equal volume.71.98Ear Drill — busy/busy versus busy/sparseRecord:71.99Mini-composition exerciseWrite 32 bars for piano with one main melody and one recurring countermelody.71.100Apply it to “Mack the Knife”This is especially effective in later swing choruses.71.101Apply it to “The Bare Necessities”This tune is almost ideal for conversational arranging.71.102Apply it to a balladFor any ballad:71.103The larger lessonWe started this course thinking of piano vertically:•Workshop 71 mini-test1. What is the most important density relationship between main melody and countermelody?